Search results for ""Author Painters"

Spain as a political entity can be traced to the joining of the two largest Iberian kingdoms through the marriage of Ferdinand of Aragon and Isabella of Castile in 1469. Over the course of the next centuries, Spain rose to European dominance, presided over the world's largest empire, and saw its power and wealth decline until it was finally conquered and occupied by Napoleon in the early nineteenth century. Early Modern Spain: A Documentary History, the first broad-ranging collection in English of writings from the entire period from 1469 to the end of the eighteenth century, comprises 61 documents carefully selected and introduced by Jon Cowans. Beginning with the marriage contract of Ferdinand and Isabella, the volume unveils the rich and turbulent history of early modern Spain through contemporary writings, including documents on the expulsion of the Jews in 1492, a narrative of the conquest of Mexico, accounts of the Inquisition, a profile of King Philip II, a cleric's primer on "the perfect wife," a sermon on the defeat of the "Invincible Armada" in 1588, reports of a bread riot in Seville, a royal investigation of the painter Velázquez, Benito Feijóo's "defense of women" of 1737, a 1790 denunciation of bullfighting, and Charles IV's declaration of war on revolutionary France in 1793. Covering political, cultural, social, and economic history, Early Modern Spain: A Documentary History provides a valuable opportunity to explore the history of Spain through primary sources, revealing the problems and experiences of Spain's empire, tensions among ethnic groups and across regions, the place of women and minorities in Spanish society, and the outlooks and roles of Spanish artists.

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Diego Rivera’s America revisits a historical moment when the famed muralist and painter, more than any other artist of his time, helped forge Mexican national identity in visual terms and imagined a shared American future in which unity, rather than division, was paramount. This volume accompanies a major exhibition highlighting Diego Rivera’s work in Mexico and the United States from the early 1920s through the mid-1940s. During this time in his prolific career, Rivera created a new vision for the Americas, on both national and continental levels, informed by his time in both countries. Rivera’s murals in Mexico and the U.S. serve as points of departure for a critical and contemporary understanding of one of the most aesthetically, socially, and politically ambitious artists of the twentieth century. Works featured include the greatest number of paintings and drawings from this period reunited since the artist’s lifetime, presented alongside fresco panels and mural sketches. This catalogue serves as a guide to two crucial decades in Rivera’s career, illuminating his most important themes, from traditional markets to modern industry, and devoting attention to iconic paintings as well as works that will be new even to scholars—revealing fresh insights into his artistic process. Published by the San Francisco Museum of Modern Art in association with University of California Press Exhibition dates: San Francisco Museum of Modern Art: July 16, 2022—January 1, 2023 Crystal Bridges Museum of American Art, Bentonville, Arkansas: March 11—July 31, 2023

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Set off on the eternal trail of the Beat experience in the city that inspired many of Jack Kerouac's best-loved novels including On the Road, Vanity of Duluoz, The Town and the City, and Desolation Angels. This is the ultimate guide to Kerouac's New York, packed with photos of the Beat Generation and filled with undercover information and little-known anecdotes. Eight easy-to-follow walking tours guide you to: Greenwich Village bars and cafes where Kerouac and his friends Allen Ginsberg, Neal Cassady, William Burroughs, Diane di Prima, Gregory Corso, Hettie and LeRoi Jones, John Clellon Holmes, Joyce Johnson, and others read poetry, drank, turned-on, and talked all night long. The Chelsea-district apartment where Jack wrote On the Road. Midtown clubs where Beat poets mingled with artists Jackson Pollock and Willem de Kooning and listened to jazz and blues greats Charlie Parker, Miles Davis, and Billie Holiday. Times Square, a magnet for Kerouac and the Beats. Columbia University, where the original Beats first met and began a revolution in American literature and culture. Each tour includes a map of the neighborhood, subway and bus information, and an insider's angle on Jack Kerouac's life in New York. A must for Beat enthusiasts and critics. Bill Morgan is a painter and archival consultant working in New York City. His previous publications include The Works of Allen Ginsberg 1941-1994: A Descriptive Bibliography and Lawrence Ferlinghetti: A Comprehensive Bibliography. He has worked as an archivist for Allen Ginsberg, Abbie Hoffman, and Timothy Leary.

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Rain Later, Good is the award winning story of Peter Collyer's extraordinary journey around the Shipping Forecast areas. The Shipping Forecast is a national institution, relied upon by mariners but also strangely comforting and poetic to landlubbers. Published in 1998 to great acclaim, Rain Later, Good was chosen by the RNLI to celebrate their 175th anniversary, and has since sold over 25,000 copies. Fifteen years later, this gorgeous book will be available in paperback for the first time, completely revised and updated, with several new paintings. Peter Collyer's brilliant and detailed paintings offer a series of images which help conjure up the most mythical locations, whilst his delightful idiosyncratic text provides a wealth of fascinating insights. He introduces us to the people who live and work in these areas, and passes on snippets of tantalising information to give a powerful impression of the place and convey a real feeling of being there. The beautiful paintings from his travels truly capture the spirit of these wild and isolated spots, and this new edition includes new paintings, sketches and up to date text. This is a much-loved book celebrating an iconic broadcast, and its reissue will be welcomed by Peter's many admirers. 'A very remarkable painter. His work is simply stunning with an observed intensity which makes him very special indeed.' Chris Beetles in The Daily Telegraph 'The most delightful and unexpected book I've encountered this year... a wonderful book.' John Naughton, The Times 'He is not only a marvellous, delicate draughtsman and watercolourist...but a drily observant writer and amateur naturalist.' Libby Purves

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An appreciation of the life and art of Tove Jansson, creator of the Moomin books, which are adored by children and adults across the globe. This book provides fresh insights and a deeper appreciation of the life and art of Tove Jansson (1914-2001), one of the most original, influential and perennially enjoyed illustrators of the 20th century. Jansson’s flourishing Moomin books are examined in detail, as are her interpretations of such classics as Lewis Carroll’s Alice’s Adventures in Wonderland and The Hunting of the Snark, and J.R.R. Tolkien’s The Hobbit. Born in Helsinki among the Swedish-speaking Finnish minority, Jansson was brought up with a love for making art and stories in a supportive artistic family. Her first illustrated tales were published when she was fourteen years old. From a year later until 1953, she drew humorous and political cartoons as well as striking front covers for the satirical magazine Garm, responding to the Second World War and its aftermath as she developed from art student to painter and muralist, bohemian and lesbian. This book also explores the emergence of her Moomin world, appearing in her first children’s book in 1945 and then in newspaper strips. These would lead to her being headhunted by the London Evening News, the world’s biggest-selling evening paper, to write and draw a daily Moomin newspaper cartoon. This body of work is one of her great achievements, expanding her stories, settings and cast and invigorating her drawing and writing. Jansson also wrote many novels, documented here along with personal commentaries from her own writings.

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Simon Schama brings Britain to life through its portraits, as seen in the five-part BBC series The Face of Britain and the major National Portrait Gallery exhibitionChurchill and his painter locked in a struggle of stares and glares; Gainsborough watching his daughters run after a butterfly; a black Othello in the nineteenth century; the poet-artist Rossetti trying to capture on canvas what he couldn't possess in life; a surgeon-artist making studies of wounded faces brought in from the Battle of the Somme; a naked John Lennon five hours before his death.In the age of the hasty glance and the selfie, Simon Schama has written a tour de force about the long exchange of looks from which British portraits have been made over the centuries: images of the modest and the mighty; of friends and lovers; heroes and working people. Each of them - the image-maker, the subject, and the rest of us who get to look at them - are brought unforgettably to life. Together they build into a collective picture of Britain, our past and our present, a look into the mirror of our identity at a moment when we are wondering just who we are. Combining his two great passions, British history and art history, for the first time, Schama's extraordinary storytelling reveals the truth behind the nation's most famous portrayals of power, love, fame, the self, and the people. Mesmerising in its breadth and its panache, and beautifully illustrated, with more than 150 images from the National Portrait Gallery, The Face of Britain will change the way we see our past - and ourselves.

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Until now, the notion of a cross-cultural dialogue has not figured in the analysis of harem paintings, largely because the Western fantasy of the harem has been seen as the archetype for Western appropriation of the Orient. In Intimate Outsiders, the art historian Mary Roberts brings to light a body of harem imagery that was created through a dynamic process of cultural exchange. Roberts focuses on images produced by nineteenth-century European artists and writers who were granted access to harems in the urban centers of Istanbul and Cairo. As invited guests, these Europeans were “intimate outsiders” within the women’s quarters of elite Ottoman households. At the same time, elite Ottoman women were offered intimate access to European culture through their contact with these foreign travelers.Roberts draws on a range of sources, including paintings, photographs, and travelogues discovered in archives in Britain, Turkey, Egypt, and Denmark. She rethinks the influential harem works of the realist painter John Frederick Lewis, a British artist living in Cairo during the 1840s, whose works were granted an authoritative status by his British public despite the actual limits of his insider knowledge. Unlike Lewis, British women were able to visit Ottoman harems, and from the mid-nineteenth century on they did so in droves. Writing about their experiences in published travelogues, they undermined the idea that harems were the subject only of male fantasies. The elite Ottoman women who orchestrated these visits often challenged their guests’ misapprehensions about harem life, and a number of them exercised power as patrons, commissioning portraits from European artists. Their roles as art patrons defy the Western idea of the harem woman as passive odalisque.

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'An absorbing book, beautifully told and with the writer fully in command of a huge body of research' Philip Hensher, Mail on Sunday There was an epic sweep to Michelangelo's life. At 31 he was considered the finest artist in Italy, perhaps the world; long before he died at almost 90 he was widely believed to be the greatest sculptor or painter who had ever lived (and, by his enemies, to be an arrogant, uncouth, swindling miser). For decade after decade, he worked near the dynamic centre of events: the vortex at which European history was changing from Renaissance to Counter Reformation. Few of his works - including the huge frescoes of the Sistine Chapel Ceiling, the marble giant David and The Last Judgment - were small or easy to accomplish. Like a hero of classical mythology - such as Hercules, whose statue Michelangelo carved in his youth - he was subject to constant trials and labours. In Michelangelo Martin Gayford describes what it felt like to be Michelangelo Buonarroti, and how he transformed forever our notion of what an artist could be.'It is a measure of [Michelangelo's] magnitude, and Gayford's skill in capturing it, that you finish this book wishing that Michelangelo had lived longer and created more' Rachel Spence, FT 'One of our most distinguished writers on what makes modern artists tick . . . It is very difficult to cut through the thicket of generations of scholarship and say anything new about David, the Sistine Chapel, The Last Judgement, the Basilica of St Peter's or many of Michelangelo's other masterpieces, but Gayford manages to do so by encouraging us to think - and look - at both the obvious and the overlooked' Sunday Telegraph'Only the most ambitious biographer can take on the talent of Michelangelo Buonarroti' The Times

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Walter Swennen is a painter, born in Brussels in 1946. Like others of his generation, he approaches and explores the medium in new ways by applying principles from other disciplines. Swennen’s work constantly challenges the viewer. His paintings demand slow and careful inspection. The layers of paint often hide a veritable battlefield of attempts, corrections, words and messages. His Dutch-speaking family suddenly began speaking French when he was five years old, and language games accordingly form an integral part of his art. A painting by Walter Swennen is not just a result, but also a process, which allows us to trace the path taken by the artist to achieve the ultimate ‘visible’ image. A key constant is the pleasure he derives from the battle with the paint. Non-conformist that he is, Swennen paints on anything: from canvas to wood to discarded camping tables, stoves and even washing machines. Walter Swennen’s long and varied career deserves to be recognised by a wide public for its radical nonconformism and the influence that the artist still exerts on young artists today. Swennen is represented by the Brussels Xavier Hufkens Gallery and the Gladstone Gallery in New York, and won the prestigious Ultima award for lifetime services to the visual arts in 2019. His work can be found in numerous museum and gallery collections. This book offers a wonderful overview of his oeuvre and is the catalogue to an international solo exhibition which launches in Kunstmuseum Bonn (June-August 2021) before travelling to Kunstmuseum Den Haag (autumn 2021) and Kunstmuseum Winterthur (spring 2022). Text contributions written by Stephan Berg, Konrad Bitterli and Daniel Koep. Text in English and German.

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'An intricate, moving novel... Quinn's best book to date' Observer'Every sentence he produces is a joy' Metro'Opens up timeless themes of family, success and love' New Statesman'Truly magnificent... this is Quinn's masterpiece' The Tablet'Quinn is an intelligent analyst of the uncertainties of love and art' Sunday TimesA celebrated artist of the Georgian era paints his two young daughters at the family home in Bath. The portrait, known as "Molly &the Captain", becomes instantly famous, its fate destined to echo down the centuries, touching many lives.In the summer of 1889 a young man sits painting a line of elms in Kensington Gardens. One day he glimpses a mother at play with her two daughters and decides to include them in his picture. From that moment he is haunted by dreams that seem to foreshadow his doom.A century later, in Kentish Town, a painter and her grown-up daughters receive news of an ancestor linking them to the long-vanished double portrait of "Molly &the Captain". Meanwhile friendship with a young musician stirs unexpected passions and threatens to tear the family apart. Molly & the Captain is a story about time and art and love. Through the prism of a single painting it examines the mysteries of creativity, and the ambiguous nature of success. What weighs more, loyalty to one's talent or loyalty to one's blood? Does self-sacrifice ennoble the soul or degrade it? And what does it mean to speak of the past when its hold on the present is inescapable?Through Anthony Quinn's signature gifts - period subtlety, intricate characterisation and storytelling verve this triptych novel melds three families and three centuries into a single vision of human frailty and longing.

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A FLAME TREE NOTEBOOK. Beautiful and luxurious the Slimline 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 and robust ivory text paper, printed with lines. THE ARTIST. The most notable period in Japanese ukiyo-e painter and printmaker Hokusai's artistic life was the latter part of his career, beginning in 1830 when he was 70 years old. He began the series of landscapes he is most famous for: 'Thirty-six Views of Mount Fuji', which included The Great Wave, off Kanagawa, probably his most iconic image. 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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Barbara von Barghahn is Professor of Art History at George Washington University and a specialist in the art history of Portugal, Spain, and their colonial dominions, as well as Flanders (1400-1800). In 1993, she was conferred O Grão Comendador in the Portuguese Order of Prince Henry the Navigator. She has spent nearly a decade completing research about Jan van Eyck's diplomatic visits to the Iberian Peninsula. This manuscript investigates Van Eyck's patronage by the Crown of Portugal and his role as diplomat-painter of the Duchy of Burgundy following his first voyage to Lisbon in 1428-1429 when he painted two portraits of Infanta Isabella, who became the third wife of Philip the Good in 1430. New portrait identifications are provided in the Ghent Altarpiece (1432) and its iconographical prototype, the lost Fountain of Life. These altarpieces are analyzed with regard to King João I's conquest of Ceuta, achieved by his sons who were hailed as an"illustrious generation." Strong family ties between the dynastic houses of Avis and Lancaster explain Lusitania 's sustained fascination with Arthurian lore and the Grail quest. Several chapters of this book are overlaid with a chivalric veneer. A second "secret mission" to Portugal in 1437 by Jan van Eyck is postulated and this diplomatic visit is related to Prince Henrique the Navigator's expedition to Tangier and King Duarte's attempts to forge an alliance with Alfonso V of Aragon. Late Eyckian commissions are reviewed in light of this ill-fated crusade and additional new portraits are identified. The most significant artist of Renaissance Flanders appears to have been patronized as much by the House of Avis as by the Duchy of Burgundy.

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For many years, de Waal has observed chimpanzees soothe distressed neighbors and bonobos share their food. Now he delivers fascinating fresh evidence for the seeds of ethical behavior in primate societies that further cements the case for the biological origins of human fairness. Interweaving vivid tales from the animal kingdom with thoughtful philosophical analysis, de Waal seeks a bottom-up explanation of morality that emphasizes our connection with animals. In doing so, de Waal explores for the first time the implications of his work for our understanding of modern religion. Whatever the role of religious moral imperatives, he sees it as a “Johnny-come-lately” role that emerged only as an addition to our natural instincts for cooperation and empathy. But unlike the dogmatic neo-atheist of his book’s title, de Waal does not scorn religion per se. Instead, he draws on the long tradition of humanism exemplified by the painter Hieronymus Bosch and asks reflective readers to consider these issues from a positive perspective: What role, if any, does religion play for a well-functioning society today? And where can believers and nonbelievers alike find the inspiration to lead a good life? Rich with cultural references and anecdotes of primate behavior, The Bonobo and the Atheist engagingly builds a unique argument grounded in evolutionary biology and moral philosophy. Ever a pioneering thinker, de Waal delivers a heartening and inclusive new perspective on human nature and our struggle to find purpose in our lives.

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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. Thomas Crane (1843–1903) was the son of painter Thomas Crane (1808–1859) and brother of the renowned children’s illustrator Walter Crane (1845–1915). He channeled his inborn artistic talents into illustration and design, and as art director at Marcus Ward & Co., producing highly regarded greeting cards, embroidery designs and illustrations. Particularly exquisite are his floral patterns designed for Art Embroidery: a Treatise on the Revived Practice of Decorative Needlework (1878). 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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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. Art by Thomas Kinkade Studios. Thomas Kinkade, the Painter of LightTM, emphasized simple pleasures and inspirational messages through his art – and the branded products created from that art. From textiles, to collectibles, to music and books, Thom believed that both the ability and the inspiration to create his paintings had been given to him as a gift. His goal as an artist was to touch people of all faiths and to bring peace and joy into their lives through the images he had created. 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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This book argues that nativism, the hostility especially to Catholic immigrants that led to the organization of political parties like the Know-Nothings, affected the meaning of nineteenthcentury American art in ways that have gone unrecognized. In an era of industrialization, nativism’s erection of barriers to immigration appealed to artisans, a category that included most male artists at some stage in their careers. But as importantly, its patriotic message about the nature of the American republic also overlapped with widely shared convictions about the necessity of democratic reform. Movements directed toward improving the human condition, including anti-slavery and temperance, often consigned Catholicism, along with monarchies and slavery, to a repressive past, not the republican American future. To demonstrate the impact of this political effort by humanitarian reformers and nativists to define a Protestant character for the country, this book tracks the work and practice of artist William Walcutt. Though he is little known today, in his own time his efforts as a painter, illustrator and sculptor were acclaimed as masterly, and his art is worth reconsidering in its own right. But this book examines him as a case study of an artist whose economic and personal ties to artisanal print culture and cultural nationalists ensured that he was surrounded by and contributed to anti-Catholic publications and organizations. Walcutt was not anti immigrant himself, nor a member of a nativist party, but his kin, friends, and patrons publicly expressed warnings about Catholic and foreign political influence. And that has implications for better-known nineteenth-century historical and narrative art. Precisely because Walcutt’s profile and milieu were so typical for artists in this period, this book is able to demonstrate how central this supposedly fringe movement was to viewers and makers of American art.

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This book argues that nativism, the hostility especially to Catholic immigrants that led to the organization of political parties like the Know-Nothings, affected the meaning of nineteenthcentury American art in ways that have gone unrecognized. In an era of industrialization, nativism’s erection of barriers to immigration appealed to artisans, a category that included most male artists at some stage in their careers. But as importantly, its patriotic message about the nature of the American republic also overlapped with widely shared convictions about the necessity of democratic reform. Movements directed toward improving the human condition, including anti-slavery and temperance, often consigned Catholicism, along with monarchies and slavery, to a repressive past, not the republican American future. To demonstrate the impact of this political effort by humanitarian reformers and nativists to define a Protestant character for the country, this book tracks the work and practice of artist William Walcutt. Though he is little known today, in his own time his efforts as a painter, illustrator and sculptor were acclaimed as masterly, and his art is worth reconsidering in its own right. But this book examines him as a case study of an artist whose economic and personal ties to artisanal print culture and cultural nationalists ensured that he was surrounded by and contributed to anti-Catholic publications and organizations. Walcutt was not anti immigrant himself, nor a member of a nativist party, but his kin, friends, and patrons publicly expressed warnings about Catholic and foreign political influence. And that has implications for better-known nineteenth-century historical and narrative art. Precisely because Walcutt’s profile and milieu were so typical for artists in this period, this book is able to demonstrate how central this supposedly fringe movement was to viewers and makers of American art.

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The modern artist strives to be independent of the public's taste--and yet depends on the public for a living. Petra Chu argues that the French Realist Gustave Courbet (1819-1877) understood this dilemma perhaps better than any painter before him. In The Most Arrogant Man in France, the first comprehensive reinterpretation of Courbet in a generation, Chu tells the fascinating story of how, in the initial age of mass media and popular high art, this important artist managed to achieve an unprecedented measure of artistic and financial independence by promoting his work and himself through the popular press. The Courbet who emerges in Chu's account is a sophisticated artist and entrepreneur who understood that the modern artist must sell--and not only make--his art. Responding to this reality, Courbet found new ways to "package," exhibit, and publicize his work and himself. Chu shows that Courbet was one of the first artists to recognize and take advantage of the publicity potential of newspapers, using them to create acceptance of his work and to spread an image of himself as a radical outsider. Courbet introduced the independent show by displaying his art in popular venues outside the Salon, and he courted new audiences, including women. And for a time Courbet succeeded, achieving a rare freedom for a nineteenth-century French artist. If his strategy eventually backfired and he was forced into exile, his pioneering vision of the artist's career in the modern world nevertheless makes him an intriguing forerunner to all later media-savvy artists.

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Ringgold's most formative and influential political works are gathered in this beautifully designed clothbound volume Alongside reproductions of key works made between 1967 and 1981, Faith Ringgold: Politics / Power provides an overview of Ringgold's seminal artistic and activist work, and its historical context during these years, including accounts by the artist herself. During the 1960s and 1970s, Ringgold, a dedicated and impassioned civil rights advocate, established her voice as a feminist and within the Black Arts Movement. Her influential work expressed her in-depth knowledge of art history and contemporary art, as well as her activism. Spanning mediums such as painting, cut paper works, posters, collage and textile art, the works presented in this publication foreground the artist’s explicitly political pieces, for which she deployed new material and formal processes, and developed a radical aesthetics and vocabulary. Organized chronologically, the book allows readers to retrace the artist’s foundational creative approaches to contemporaneous social, political and artistic questions. It includes illustrations of individual artworks together with previously unpublished work and archival materials. Faith Ringgold (born 1930) is a painter, mixed-media sculptor, performance artist, teacher and writer best known for her narrative quilts. In 2020, the New York Times described her as an artist “who has confronted race relations in this country from every angle, led protests to diversify museums decades ago, and even went to jail for an exhibition she organized.” Her work is in the collections of the Museum of Modern Art, New York, the Brooklyn Museum and the Baltimore Museum of Art, among others. Ringgold lives and works in Englewood, New Jersey.

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In May 1950 Isamu Noguchi (1904–88) returned to Japan for his first visit in 20 years. He was, Noguchi said, seeking models for evolving the relationship between sculpture and society—having emerged from the war years with a profound desire to reorient his work “toward some purposeful social end.” The artist Saburo Hasegawa (1906–57) was a key figure for Noguchi during this period, making introductions to Japanese artists, philosophies, and material culture. Hasegawa, who had mingled with the European avant-garde during time spent as a painter in Paris in the 1930s, was, like Noguchi, seeking an artistic hybridity. By the time Hasegawa and Noguchi met, both had been thinking deeply about the balance between tradition and modernity, and indigenous and foreign influences, in the development of traditional cultures for some time. The predicate of their intense friendship was a thorough exploration of traditional Japanese culture within the context of seeking what Noguchi termed “an innocent synthesis” that “must rise from the embers of the past.” Changing and Unchanging Things is an account of how their joint exploration of traditional Japanese culture influenced their contemporary and subsequent work. The 40 masterpieces in the exhibition—by turns elegiac, assured, ambivalent, anguished, euphoric, and resigned—are organized into the major overlapping subjects of their attention: the landscapes of Japan, the abstracted human figure, the fragmentation of matter in the atomic age, and Japan’s traditional art forms. Published in association with The Noguchi Museum. Exhibition dates: Yokohama Museum of Art, Japan: January 12–March 21, 2019 The Noguchi Museum, New York: May 1–July 14, 2019 Asian Art Museum, San Francisco: September 27–December 8, 2019

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How artists from Hiroshige and Kuniyoshi to Whistler and Arthur Wesley Dow embraced and transformed Hokusai’s dynamic style and innovations The great painter, book illustrator and print designer Katsushika Hokusai (1760–1849) has become the best known of all Japanese artists and one of the most famous and influential artists in the world. He was a key figure for the Japonisme movement in late 19th-century Europe, and his iconic images—especially the color woodblock print nicknamed “The Great Wave”—are frequently referred to in present-day art in both serious and frivolous forms, from sculpture, printmaking and painting to anime and emojis. This book looks at Hokusai from the viewpoint of fellow artists who incorporated lessons learned from him into their own work, including Hokusai’s own students, his contemporary rivals and his many posthumous admirers working in a wide range of mediums, in Japan and around the world, from the late 19th century to the present. Lavishly illustrated and accompanied by illuminating and engaging texts, this publication invites readers to encounter the origins and enduring appeal of Hokusai’s delightful art. Artists include: Félix Bracquemond, John Cederquist, Arthur Wesley Dow, Hiroshige, Sori Hishikawa, Hokkei, Hokusai, Winslow Homer, Loïs Mailou Jones, Henri Gustave Jossot, Shun’ei Katsukawa, Shunsho Katsukawa, Oi Katsushika, Eisen Keisai, Korin, Kuniyoshi, Paul Legrand, Manjiro Hokuga, Ogata Korin, Odilon Redon, Henri Rivière, Hoitsu Sakai, Hokuju Shotei, Hokushu Shunkosai, Kogan Tobari, Hokkei Totoya, Toyoharu Utagawa, Utamasa, Édouard Vuillard, James Abbott McNeill Whistler, Samuel Wilson and Shigenobu Yanagawa.

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Embrace Your Divine Feminine EnergyCreate new rituals and self-care habits with this oracle deck. These sacred inspirational cards inspired by land-based practises of the Métis people serve as a daily mental healer.Re-energize and connect to the Métis culture. These oracle cards are the perfect way to help you slow down and awaken to the energy around and inside you. Andrea Menard writes beautifully while invoking connections to the land and indigenous teachings; use these cards as friendly reminders to dive into your divine feminine energy. Andrea Menard is a Métis woman whose Michif ancestry originates from St. Laurent, Manitoba, Canada. She is deeply influenced by Sacred Elements and guided by the teachings of her ancestral Grandmothers.Enjoy colorful and beautifully layered art. These unique images bring emotional healing and a deep awakening to divine feminine energy. Sacred women, men, and gender-fluid individuals will find wisdom on every card. Enjoy 52 cards with beautiful images of original artwork by Métis painter, Leah Marie Dorion. Leah is an interdisciplinary Metis artist raised in Prince Albert, Saskatchewan, who views her Metis heritage as a unique bridge connecting all people to a greater knowledge.Inside, you’ll find: Ancient wisdom and teachings from Andrea Menard set to transform you Beautifully layered art from Leah Marie Dorion on a deck of cards set to awaken you A handbook guide set to spark your divine feminine energy If you need a gift for the sacred woman in your life or if you liked The Sacred Forest Oracle, The Starseed Oracle, or Sacred Destiny Oracle, you’ll love Seeds of the Sacred Feminine.

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A Magical Year takes readers on an unforgettable journey through the seasons at Hogwarts. Jim Kay’s incredible illustrations, paired with much loved quotations from J.K. Rowling’s Harry Potter novels, bring to life all of the magic, beauty and wonder of the wizarding world. This is an irresistible gift book for anyone who has ever been captivated by the Boy Who Lived. Each day features a favourite anniversary or meaningful memory from the Harry Potter novels. All around, Jim Kay’s scenic artwork and decorative painter’s marks bring that moment to life in breathtaking detail. His unique interpretation is both captivating and transporting – picture frozen icicles glinting on the snowy towers of Hogwarts, the dancing eyes of Professor Albus Dumbledore, or the infectious hustle and bustle of Diagon Alley. Inside, a selection of his most iconic illustrations are joined by previously unseen pencil sketches and preparatory pieces, offering a unique and fascinating insight into the artist’s sketchbook. Jim Kay’s dazzling depiction of the wizarding world has been enchanting readers since the publication of the groundbreaking Illustrated Edition of Harry Potter and the Philosopher’s Stone in 2015. Now, as he continues to illustrate the stories, both lifelong fans and new readers can explore that world further. The Kate Greenaway Medal winner’s bewitching character studies, sweeping landscapes and beautifully observed pencil details reveal the skill and process of an artist working at the peak of his powers. This is the perfect gift to give at birthdays and Christmas, to share at bedtime or to make a friend smile. A Magical Year brings together Harry, Ron, Hermione and a host of other beloved characters in a glorious illustrated compendium that readers everywhere will cherish for years to come.

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“Sens-Plastique has now been a companion of mine for nearly 20 years, and so far as I am concerned, Malcolm de Chazal is much the most original and interesting French writer to emerge since the war.” –W.H. Auden After seeing an azalea looking at him in the Curepipe Botanic Gardens (and realizing that he himself was becoming a flower), Malcolm de Chazal began composing what would eventually become his unclassifiable masterpiece, Sens-Plastique, which would take its final form in 1948. Containing over 2,000 aphorisms, axioms and allegories, the book was immediately hailed as a work of genius by André Breton, Francis Ponge, Jean Dubuffet and Georges Braque. Embraced by the Surrealists as one of their own, Chazal chose to avoid all literary factions and steadfastly anchored himself in his solitary life as a bachelor mystic on the island nation of Mauritius, where he would proceed to write books and paint for the rest of his life. Sens-Plastique employs a strange humor and an alchemical sensibility to offer up an utterly original world vision that unifies neo-science, philosophy and poetry into a new form of writing. Mapping every human body part, facial expression and emotion onto the natural kingdom through subconscious thinking, Chazal presents a world in which humankind is not just made in the image of God, but Nature is made in the image of humankind: a sensual, synesthetic world in which everything in the universe, be it animal, vegetable, mineral or human, employs a spiritual copula. Malcolm de Chazal (1902–81) was a Mauritian writer and painter. Forsaking a career in the sugar industry, he spent the majority of his life in a solitary, mystical pursuit of the continuity between man and nature.

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Although Elizabeth Barrett Browning and Benjamin Robert Haydon never met, their lively and topical conversation, initiated in 1842, continued unabated until 1845, about a year before the painter’s suicide. It was a somewhat lopsided correspondence in which ninety-four letters written by Haydon, most of which have not been published before, received fewer replies from Miss Barrett, twenty-eight of which are included in this book. Judging from the contents of the letters, the epistolary friendship was truly meaningful to both. To Miss Barrett, Haydon was “my dear kind friend”; he was far more effusive, addressing her as “you Ingenious little darling invisible” and “my dearest dream & invisible intellectuality.”In spite of Haydon’s frequent pleas for a meeting, Miss Barrett never agreed to receive him. However, as the correspondence progressed, they exchanged more and more confidences and each recognized the other as a responsive and sympathetic listener. With complete candor Haydon admitted at one point that egotism was the basis of his pleasure in the correspondence; “I never ask what you are doing,” he wrote, “but take it for granted what I am doing must be delightful to you.”Evincing warmth and poignancy, the letters range over a variety of colorful subjects covering art, literature, current events, and gossip. The Elgin Marbles and Queen Victoria are discussed, and the correspondents air opposing views on mesmerism and Napoleon versus Wellington. After a thoughtful introduction which provides background information on Miss Barrett and Haydon, Willard Pope presents the letters—carefully annotated with identifying information on people, places, and current events—in chronological order.

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Gnostic poet, painter, writer, and magician Aleister Crowley arrived in Berlin on April 18, 1930. As prophet of his syncretic religion "Thelema," he wanted to be among the leaders of art and thought, and Berlin, the liberated future-gazing metropolis, wanted him. There he would live, until his hurried departure on June 22, 1932, as Hitler was rapidly rising to power and the black curtain of intolerance came down upon the city. Known to his friends affectionately as "The Beast," Crowley saw the closing lights of Berlin's artistic renaissance of the Weimar period when Berlin played host to many of the world's most outstanding artists, writers, filmmakers, performers, composers, architects, philosophers, and scientists, including Albert Einstein, Bertolt Brecht, Ethel Mannin, Otto Dix, Aldous Huxley, Jean Ross, Christopher Isherwood, and many other luminaries of a glittering world soon to be trampled into the mud by the global bloodbath of World War II. Drawing on previously unpublished letters and diary material by Crowley, Tobias Churton examines Crowley's years in Berlin and his intense focus on his art, his work as a spy for British Intelligence, his colorful love life and sex magick exploits, and his contacts with German Theosophy, Freemasonry, and magical orders. He recounts the fates of Crowley's colleagues under the Nazis as well as what happened to Crowley's lost art exhibition--six crates of paintings left behind in Germany as the Gestapo was closing in. Revealing the real Crowley long hidden from the historical record, Churton presents "the Beast" anew in all his ambiguous and, for some, terrifying glory, at a blazing, seminal moment in the history of the world.

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The year's finest mathematics writing from around the world This annual anthology brings together the year's finest mathematics writing from around the world. Featuring promising new voices alongside some of the foremost names in the field, The Best Writing on Mathematics 2017 makes available to a wide audience many articles not easily found anywhere else--and you don't need to be a mathematician to enjoy them. These writings offer surprising insights into the nature, meaning, and practice of mathematics today. They delve into the history, philosophy, teaching, and everyday occurrences of math, and take readers behind the scenes of today's hottest mathematical debates. Here Evelyn Lamb describes the excitement of searching for incomprehensibly large prime numbers, Jeremy Gray speculates about who would have won math's highest prize--the Fields Medal--in the nineteenth century, and Philip Davis looks at mathematical results and artifacts from a business and marketing viewpoint. In other essays, Noson Yanofsky explores the inherent limits of knowledge in mathematical thinking, Jo Boaler and Lang Chen reveal why finger-counting enhances children's receptivity to mathematical ideas, and Carlo Sequin and Raymond Shiau attempt to discover how the Renaissance painter Fra Luca Pacioli managed to convincingly depict his famous rhombicuboctahedron, a twenty-six-sided Archimedean solid. And there's much, much more. In addition to presenting the year's most memorable writings on mathematics, this must-have anthology includes a bibliography of other notable writings and an introduction by the editor, Mircea Pitici. This book belongs on the shelf of anyone interested in where math has taken us--and where it is headed.

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Cabdrivers and their yellow taxis are as much a part of the cityscape as the high-rise buildings and the subway. We hail them without thought after a wearying day at the office or an exuberant night on the town. And, undoubtedly, taxi drivers have stories to tell - of farcical local politics, of colorful passengers, of changing neighborhoods and clandestine shortcuts. No one knows a city's streets - and thus its heart - better than its cabdrivers. And from behind the wheel of his taxi, Dmitry Samarov has seen more of Chicago than most Chicagoans could hope to experience in a lifetime. An artist and painter trained at the School of the Art Institute of Chicago, Samarov began driving a cab in 1993 to make ends meet, and he's been working as a taxi driver ever since. In "Hack: Stories from a Chicago Cab", he recounts tales that will delight, surprise, and sometimes shock even the most seasoned urbanite. We follow Samarov through the rhythms of a typical week, as he waits hours at the garage to pick up a shift, ferries comically drunken passengers between bars, delivers prostitutes to their johns, and inadvertently observes drug deals. There are long waits with other cabbies at O'Hare, vivid portraits of street corners and their regular denizens, amorous Cubs fans celebrating after a game at Wrigley Field, and customers who are pleasantly surprised that Samarov is white - and tell him so. Throughout, Samarov's own drawings - of his fares, of the taxi garage, and of a variety of Chicago street scenes - accompany his stories. In the grand tradition of Nelson Algren, Saul Bellow, Mike Royko, and Studs Terkel, Dmitry Samarov has rendered an entertaining, poignant, and unforgettable vision of Chicago and its people.

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Celebrating the groundbreaking life’s work of Stanislav Grof, MD, pioneer in psychedelic research and transpersonal psychology. Created in honour of his 90th birthday, this book celebrates the profound life’s work of Stanislav Grof, MD, pioneer in psychedelic research and transpersonal psychology. Featuring an extended interview between Stan and his wife, Brigitte, the book explores in depth the full arc of his research in his own words as well as the history of LSD. He discusses his early experiments with LSD in Czechoslovakia and the USA during the 1950s and ’60s and the cartography of the psyche that resulted. He describes his clients’ and his own experiences and the psychedelic approach he pioneered. He explains the four perinatal matrices, illustrated with the impressive paintings he made during high-dose LSD sessions. He discusses the creation of holotropic breathwork as a way to reach expanded states of consciousness without the use of drugs. He describes how he started work with LSD believing it was simply pharmacology and then went on to discover the perinatal, transpersonal, and archetypal levels of the psyche through his lifelong research. The book also features testimonies from a number of luminaries in the psychedelic, psychological, scientific, and spiritual communities, including Jack Kornfield, Rupert Sheldrake, Ervin Laszlo, Richard Tarnas, Rick Doblin, Roger Walsh, David Steindl-Rast, Fritjof Capra, and Cathy Coleman. Complete with captivating photos of Stan Grof with Albert Hofmann, Swiss painter H. R. Giger, Fritz Perls, Sasha Shulgin, as well as all of the book’s contributors, this special book presents an impressive overview of Stan Grof’s groundbreaking work and honors his importance as a psychedelic elder.

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Among his many captivating exploits, the French artist Yves Klein (1928 - 1962) invented his own brand of colour: the inimitable International Klein Blue. Denounced as a charlatan and feted as a mystic, Klein scandalized the art world with his enthusiastic embrace of the highs and lows of post-war mass culture and his exploitation of controversial publicity tactics. Today it is clear that Klein was not only one of the most radical artists of the post-war period but an iconic role model for contemporary practices: he reinvented abstract painting, conceived new horizons for performance art and was a trailblazer in the interdisciplinary realm of land, body and conceptual art. Nuit Banai examines the relationship between Klein's brief but incandescent life and his wide repertoire of artistic practices. The book establishes that Klein's brilliance was above all performative, as he created and inhabited a cast of public identities: avant-garde artist, bourgeois, judo expert, painter, charlatan, collaborator, politician, middle-class mystic, fascist and showman.With each persona, Klein invented new ways to communicate his paradoxical message of spiritual enlightenment and Dada iconoclasm to an unsuspecting, bemused and entranced audience. This new critical biography illuminates Klein's influential and multifaceted artistic career. Alongside contemporaries like Andy Warhol and Joseph Beuys and postmodern chameleons like Cindy Sherman, Klein's protean performance of multiple roles stands as a landmark example of the artist's transformational status. An invaluable introduction to the life and work of this flamboyant individual, Yves Klein will appeal to students and scholars of Klein as well as those interested in contemporary art and twentieth-century culture.

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Gerhard Richter is one of the most important and popular artists of the postwar era. For decades he has sought innovative ways to make painting more relevant, often through a multifaceted dialogue with photography. Today Richter is most widely recognized for the photo-paintings he made during the 1960s that rely on images culled from mass media and pop culture. Always fascinated with the limits and uncertainties of representation, he has since then produced landscapes, abstractions, glass and mirror constructions, prints, sculptures, and installations. Though Richter has been known in the United States for quite some time, the highly successful retrospective of his work at the MOMA in 2002 catapulted him to unprecedented fame. Enter noted curator Dietmar Elger, who here presents the first biography of this contemporary artist. Written with full access to Richter and his archives, this fascinating book offers unprecedented insight into his life and work. Elger explores Richter's childhood in Nazi Germany; his years as a student and mural painter in communist East Germany; his time in the West during the turbulent 1960s and '70s, when student protests, political strife, and violence tore the Federal Republic of Germany apart; and, his rise to international acclaim during the 1980s and beyond. Richter has always been a difficult personality to parse, and the seemingly contradictory strands of his artistic practice have frustrated and sometimes confounded critics. But the extensive interviews on which this book is based disclose a Richter who is far more candid and vivid than ever before. The result is a book that will be the foundational portrait of this artist and his profoundly influential oeuvre.

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

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The period of adolescence can be a time of great creativity, as new intellectual capacities emerge, and as the individual adolescent attempts to make sense out of inner and outer experience. Volume 30 of Adolescent Psychiatry addresses the ways in which adolescent experience is transmuted into creative artistic production, as well as focuses on the relationship between creativity and psychopathology, and treatment for troubled adolescents. With the links between adolescence and creativity in mind, the volume opens with an in-depth examination of a young boy’s creation of his own story of Polyphemus. This is followed by a fresh look at the adolescent influences behind Austrian Symbolist painter Gustav Klimt. The next ten chapters comprise a special section devoted to creative solutions to some of the most challenging facing adolescent psychiatry. Here, numerous relevant studies are presented and conclusions drawn, as a whole addressing topics such as: an innovative residential treatment program for gifted adolescents who have failed academically and rejected previous attempts at treatment; motivational interviewing, a technique employed in the effort to find common ground between the therapist and patient; the importance of understanding adolescent sexuality and how to approach the topic with patients in an appropriate manner; and a discussion of the registration, commitment, and assessment of juvenile sex offenders. A final section investigates problematic examples of reactive attachment disorder, as well as treatment-refractory adolescent schizophrenia – when the medication doesn’t work.Volume 30 of Adolescent Psychiatry continues the wide-ranging scholarship and analytic sensibility that has been the hallmark of the series. Literary and artistic criticism reside comfortably between empirical research and case studies, all working together to broaden the horizon of research and application of psychiatric technique and theory for adolescence.

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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. Thomas Kinkade, the Painter of LightTM, emphasized simple pleasures and inspirational messages through his art – and the branded products created from that art. From textiles, to collectibles, to music and books, Thom believed that both the ability and the inspiration to create his paintings had been given to him as a gift. His goal as an artist was to touch people of all faiths and to bring peace and joy into their lives through the images he had created. 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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A veritable folk hero in Latin America and Mexico's most important artist-along with his wife, painter Frida Kahlo-Diego Rivera (1886-1957) led a passionate life devoted to art and communism. After spending the 1910s in Europe, where he surrounded himself with other artists and embraced the Cubist movement, he returned to Mexico and began to paint the large-scale murals for which he is most famous. In his murals, he addressed social and political issues relating to the working class, earning him prophetic status among the peasants of Mexico. He was invited to create works abroad, most notably in the United States, where he stirred up controversy by depicting Lenin in his mural for the Rockefeller Center in New York City (the mural was destroyed before it was finished). Rivera's most remarkable work is his 1932 Detroit Industry, a group of 27 frescos at the Detroit Institute of Art in Michigan. This volume features numerous large-scale details of the murals, allowing their various components and subtleties to be closely examined. In addition to the murals is a vast selection of paintings, vintage photos, documents, and drawings from public and private collections around the world, many of which the whereabouts were previously unknown to scholars and whose inclusion here is thanks to the most intense research performed on Rivera's work since his death. Texts include an illustrated biography and essays by prominent art historians offering interpretations of each mural. One could not ask for a more comprehensive study of Rivera's oeuvre; finally his work is the subject of the sweeping retrospective it deserves.

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A veritable folk hero in Latin America and Mexico’s most important artist—along with his wife, painter Frida Kahlo—Diego Rivera (1886–1957) led a passionate life devoted to art and communism. After spending the 1910s in Europe, where he surrounded himself with other artists and embraced the Cubist movement, he returned to Mexico and began to paint the large-scale murals for which he is most famous. In his murals, he addressed social and political issues relating to the working class, earning him prophetic status among the peasants of Mexico. He was invited to create works abroad, most notably in the United States, where he stirred up controversy by depicting Lenin in his mural for the Rockefeller Center in New York City (the mural was destroyed before it was finished). Rivera’s most remarkable work is his 1932 Detroit Industry, a group of 27 frescos at the Detroit Institute of Art in Michigan. This volume features numerous large-scale details of the murals, allowing their various components and subtleties to be closely examined. In addition to the murals is a vast selection of paintings, vintage photos, documents, and drawings from public and private collections around the world, many of which the whereabouts were previously unknown to scholars and whose inclusion here is thanks to the most intense research performed on Rivera’s work since his death. Texts include an illustrated biography and essays by prominent art historians offering interpretations of each mural. One could not ask for a more comprehensive study of Rivera’s oeuvre; finally his work is the subject of the sweeping retrospective it deserves.

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

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2017 British Fantasy Award, Best Comic/Graphic Novel2018 Eisner Award winner, Best Writer2018 Eisner Award winner, Best Painter/Multimedia Artist2018 Eisner Award winner, Best Continuing Series2018 Eisner Award winner, Best Publication for Teens2018 Eisner Award winner, Best Cover Artist2018 Harvey Award winner, Book of the Year2018 Hugo Award winner, Best Graphic Story2018 Hugo Award Winner, Best Professional Artist2018 British Fantasy Award winner, Best Comic/Graphic Novel2018, 2016, 2015 Entertainment Weekly's The Best Comic Books of the Year"2018, Newsweek's Best Comic Books of the Year2018, The Washington Post's 10 Best Graphic Novels of the Year2018, Barnes & Noble's Best Books of the Year2018, YALSA's Great Graphic Novels for Teens2018, Thrillist's Best Comics & Graphic Novels of the Year2018, Powell's Best Science-Fiction, Fantasy, Horror, and Graphic Novels of the Year2019, Hugo Award nomineeMaika and Corvin make their way through a warped and lethal land in search of Kippa, who is faced with her own terrible monsters. But when Maika comes face-to-face with a stranger from her deep past, startling truths are uncovered, and at the center of it all lurks a dangerous conspiracy that threatens the Known World. Maika is finally close to getting all the answers she ever wanted, but at what price? With war on the horizon-a war no one wants to stop-whose side will Maika choose? Collects MONSTRESS #19-24.

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“Each day of my life has been dedicated in part to drawing. I have never stopped drawing and painting, seeking, where I could find them, the secrets of form.”—Le Corbusier Charles-Édouard Jeanneret, known as Le Corbusier (1887–1965), is famous for transforming 20th-century architecture and urbanism. Less attention has been paid to his artistic production, although he began his career as a painter. Le Corbusier indeed studied under Charles L’Éplattenier and, together with the artist Amédée Ozenfant, founded the Purist movement in the manifesto After Cubism. Even after Le Corbusier turned to architecture, he continued to paint and draw. His thousands of drawings, rarely exhibited but meticulously stored in two watch cabinets from his family home, were particularly significant; he considered his work as a draftsman to be fundamental to his creative process. Beautifully illustrated with more than 300 drawings that have never before been published for an English readership, this revealing book charts the evolution of Le Corbusier’s process from his youthful travels abroad to his arrival and maturation in Paris. Danièle Pauly shows how his drawings functioned within an intimate zone of private reflection and situates his work within the broader artistic and intellectual currents of Cubism, Purism, Primitivism, and Surrealism. In addition to providing a crucial new background against which to comprehend Le Corbusier’s architecture and urbanism, this important volume advocates for understanding him alongside leading modern artists including Pablo Picasso and Fernand Léger.

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This lavish catalogue presents sketches made en plein air between the end of the eighteenth century and late nineteenth century. It accompanies a major exhibition at the National Gallery of Art, Washington (USA), the Fondation Custodia (France) and the Fitzwilliam Museum, Cambridge (UK).In the eighteenth century the tradition of open-air painting was based in Italy, Rome in particular. Artists came from all over Europe to study classical sculpture and architecture, as well as masterpieces of Renaissance and Baroque art. During their studies, groups of young painters visited the Italian countryside, training their eyes and their hands to transcribe the effects of light on a range of natural features. The practice became an essential aspect of art education, and spread throughout Europe in the nineteenth century. This exhibition focuses on the artists’ wish to convey the immediacy of nature observed at first hand.Around a hundred works, most of them unfamiliar to the general public, will be displayed. The artists represented include Thomas Jones, John Constable, J.M.W. Turner, Pierre-Henri de Valenciennes, Achille-Etna Michallon, Camille Corot, Christoffer Wilhelm Eckersberg, Johan Thomas Lundbye, Vilhelm Kyhn, Carl Blechen, Johann Martin von Rohden, Johann Wilhelm Schirmer, Johann Jakob Frey, among others. The sketches demonstrate the skill and ingenuity with which each artist quickly translated these first-hand observations of atmospheric and topographical effects while the impression was still fresh.The exhibition and the catalogue will be organized thematically, reviewing, as contemporary artists did, motifs such as trees, rocks, water, volcanoes, and sky effects, and favourite topgraphical locations, such as Rome and Capri. The catalogue will present numerous unpublished plein air sketches, and contains original scholarship on this relatively young field of art history.

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Lonely Planet's Madrid is your passport to the most relevant, up-to-date advice on what to see and skip, and what hidden discoveries await you. Marvel at masterpieces by Spain's best painters in the beautiful Museo del Prado, enjoy tapas in La Latina, and stroll past the architectural monuments in Parque del Buen Retiro; all with your trusted travel companion. Get to the heart of Madrid and begin your journey now! Inside Lonely Planet's Madrid Travel Guide:Up-to-date information - all businesses were rechecked before publication to ensure they are still open after 2020’s COVID-19 outbreak NEW pull-out, passport-size 'Just Landed' card with wi-fi, ATM and transport info - all you need for a smooth journey from airport to hotel Planning tools for family travellers - where to go, how to save money, plus fun stuff just for kids What's New feature taps into cultural trends and helps you find fresh ideas and cool new areas our writers have uncovered Colour maps and images throughout Highlights and itineraries help you tailor your trip to your personal needs and interests Insider tips to save time and money and get around like a local, avoiding crowds and trouble spots Essential info at your fingertips - hours of operation, phone numbers, websites, transit tips, prices Honest reviews for all budgets - eating, sleeping, sightseeing, going out, shopping, hidden gems that most guidebooks miss Cultural insights give you a richer, more rewarding travel experience - history, people, music, landscapes, wildlife, cuisine, politics Over 24 maps Covers Plaza Mayor & Royal Madrid, La Latina & Lavapies, Sol, Santa Ana & Huertas, El Retiro & the Art Museums, Salamanca, Malasana & Conde Duque, Chueca, Parque del Oeste & Northern Madrid and more The Perfect Choice: Lonely Planet Madrid, our most comprehensive guide to Madrid, is perfect for both exploring top sights and taking roads less travelled. Looking for just the highlights? Check out Pocket Madrid, a handy-sized guide focused on the can't-miss sights for a quick trip. Looking for more extensive coverage? Check out Lonely Planet Spain for a comprehensive look at all the country has to offer. Authors Written and researched by Lonely Planet, and Anthony Ham. About Lonely Planet: Lonely Planet is a leading travel media company, providing both inspiring and trustworthy information for every kind of traveller since 1973. Over the past four decades, we've printed over 145 million guidebooks and phrasebooks for 120 languages, and grown a dedicated, passionate global community of travellers. You'll also find our content online, and in mobile apps, videos, 14 languages, armchair and lifestyle books, ebooks, and more, enabling you to explore every day. 'Lonely Planet guides are, quite simply, like no other.' – New York Times 'Lonely Planet. It's on everyone's bookshelves; it's in every traveller's hands. It's on mobile phones. It's on the Internet. It's everywhere, and it's telling entire generations of people how to travel the world.' – Fairfax Media (Australia)

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Born in 1830, Christina Rossetti began composing verse at the age of eleven and continued to write for the remaining fifty-three years of her life. Her brother Dante Gabriel Rossetti, himself a poet and painter, soon recognised her genius and urged her to publish her poems. By the time of her death in 1894, Christina had written more than eleven hundred poems and had published over nine hundred of them. Although she is regarded as the greatest woman poet of the Victorian period, there has not been until now and authoritative edition of her poetry.In this second volume of the three-volume The Complete Poems of Christina Rossetti, R.W. Crump continues the editorial standards she established n Volume I, published in 1979. She gives the reader a comprehensive text with notes revealing Christina's process of composition and revision and her painstaking concern for the technical details of her work. The variant readings in the notes are taken from extant manuscripts, individual poems as published or privately printed before being incorporated into her published collections, and all the English and American editions of her poems through William Michael Rossetti's The Poetical Works of Christina Georgina Rossetti (1904). A special feature of both Volumes I and II is a complete list of holographs and their locations.Volume II contains Sing-Song: A Nursery Rhyme Book (1872), A Pageant and Other Poems (1881), and Verses (1893), as well as the poems added to these volumes after their original publication. Volume III contains poems Christina published but did not include in any of her collections as well as poems that have not previously appeared in print.

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The very best of Le Fanu’s supernatural fiction, including such classics as: ‘Schalken the Painter’, ‘Squire Toby's Will’, ‘Mr Justice Harbottle’, ‘The Familiar’, ‘Green Tea’, ‘Madam Crowl’s Ghost’ and ‘The Murdered Cousin’, introduced by genre expert Michael Cox. ‘Sheridan Le Fanu,’ wrote S.M. Ellis in 1916, ‘retains his own special place and fame as the Master of Horror and the Mysterious.’ Today, Le Fanu’s reputation is as high as ever amongst connoisseurs of supernatural and mystery fiction and well deserves the enthusiastic praise lavished on him by some of the most accomplished ghost fiction writers of the twentieth century – including E.F. Benson and M.R. James. Born in 1814, the son of an Anglo-Irish Protestant clergyman, Le Fanu single-handedly created a new kind of fictional ghost story. Gone are the sheeted spooks rattling rusty chains and the peripatetic headless ladies that infest Gothic fiction. In their place Le Fanu created formidably real supernatural presences that emerge from within, as well as invade from without. Le Fanu was the first writer to explore seriously the psychological dimensions of the ghost story; at the same time he was adept at invoking the physical presence of supernatural malevolence. The world in which his characters move is a hostile one, his stories surrounded by an infinity of outer darkness. Private anguish undoubtedly underlies these public fictions. And yet Le Fanu’s stories – be they of ghosts or tales of mystery – are also of the good old-fashioned type, best enjoyed in the sort of setting he himself described – ‘the old-fashioned parlour fire-side and its listening circle of excited faces, and, outside, the wintry blast and the moan of leafless boughs . . .’

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Sumptuous and colorful new portraits, still lifes, landscapes and interior scenes from the beloved LA painter This volume provides a concise, comprehensive and intimate look at Jonas Wood’s 2022 solo exhibition at David Kordansky Gallery in Los Angeles. With illuminating texts by Wood that incorporate process notes, references and thoughts about his practice and artmaking in general, this richly illustrated monograph shows how he plans and executes his celebrated paintings from his own point of view. Jonas Wood: Plants and Animals features large full-color plates of the 14 paintings in the exhibition plus installation views and dozens of contextualizing images. These include drawings, collages, prints, photographs, previous paintings, research materials and studio shots; many are never-before-seen selections from Wood’s personal archive. Plants and Animals is a vivid and entertaining immersion in the world of an artist whose evocations of daily life, memories and invented scenes are both familiar and surprising, and whose paintings contain innumerable visual worlds of their own. Jonas Wood was born in Boston in 1977. He has been the subject of solo and two-person exhibitions at the Dallas Museum of Art (2019); Museum Voorlinden, Wassenaar, the Netherlands (with Shio Kusaka, 2017); Lever House, New York (2014); and Hammer Museum, Los Angeles (2010). His work is in the permanent collections of many institutions including the Hirshhorn Museum and Sculpture Garden, Washington, DC; Hammer Museum, Los Angeles; Metropolitan Museum of Art, New York; San Francisco Museum of Modern Art; Guggenheim Museum, New York; The Broad, Los Angeles; Museum of Modern Art, New York; and Whitney Museum of American Art, New York.

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Rendering High Dynamic Range (HDR) scenes on media with limited dynamic range began in the Renaissance whereby painters, then photographers, learned to use low-range spatial techniques to synthesize appearances, rather than to reproduce accurately the light from scenes. The Art and Science of HDR Imaging presents a unique scientific HDR approach derived from artists’ understanding of painting, emphasizing spatial information in electronic imaging. Human visual appearance and reproduction rendition of the HDR world requires spatial-image processing to overcome the veiling glare limits of optical imaging, in eyes and in cameras. Illustrated in full colour throughout, including examples of fine-art paintings, HDR photography, and multiple exposure scenes; this book uses techniques to study the HDR properties of entire scenes, and measures the range of light of scenes and the range that cameras capture. It describes how electronic image processing has been used to render HDR scenes since 1967, and examines the great variety of HDR algorithms used today. Showing how spatial processes can mimic vision, and render scenes as artists do, the book also: Gives the history of HDR from artists' spatial techniques to scientific image processing Measures and describes the limits of HDR scenes, HDR camera images, and the range of HDR appearances Offers a unique review of the entire family of Retinex image processing algorithms Describes the considerable overlap of HDR and Color Constancy: two sides of the same coin Explains the advantages of algorithms that replicate human vision in the processing of HDR scenes Provides extensive data to test algorithms and models of vision on an accompanying website www.wiley.com/go/mccannhdr

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As performed by Maxine Peake ('visionary'): the radical dystopian classic, lost for forty years: in a nightmarish Britain, THEY are coming closer.'A creepily prescient tale ... Insidiously horrifying!' Margaret Atwood'A masterpiece of creeping dread.' Emily St. John MandelThis is Britain: but not as we know it. THEY begin with a dead dog, shadowy footsteps, confiscated books. Soon the National Gallery is purged; eerie towers survey the coast; mobs stalk the countryside destroying artworks - and those who resist.THEY capture dissidents - writers, painters, musicians, even the unmarried and childless - in military sweeps, 'curing' these subversives of individual identity.Survivors gather together as cultural refugees, preserving their crafts, creating, loving and remembering. But THEY make it easier to forget ...Lost for half a century, newly introduced by Carmen Maria Machado, Kay Dick's They (1977) is a rediscovered dystopian masterpiece of art under attack: a cry from the soul against censorship, a radical celebration of non-conformity - and a warning.'Every bit as creepy, tense and strange as when I first read it 40 years ago.' Ian Rankin'Delicious and sexy and downright chilling ... Read it!' Rumaan Alam'Crystalline ... The signature of an enchantress.' Edna O'Brien'I'm pretty wild about this paranoid, terrifying 1977 masterpiece.' Lauren Groff'Deft, dread filled, hypnotic and hopeful. Completely got under my skin.' Kiran Millwood Hargrave'Lush, hypnotic, compulsive ... A reminder of where groupthink leads.' Eimear McBride'A masterwork of English pastoral horror: eerie and bewitching.' Claire-Louise Bennett'A short shocker: creepy, disturbing, distressing and highly enjoyable.' Andrew Hunter Murray'Prophetic, chilling and a reminder from the past that we have everything to fight for in the future.' Salena Godden

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An instant New York Times bestseller! An Indie Next Top 10 Pick A Parents’ Choice Silver Honor Winner “A funny, action-packed, and sweet romance.” —School Library Journal (starred review) “A phenomenal read.” —RT Book Reviews A skilled painter must stand up to the ancient power of the faerie courts—even as she falls in love with a faerie prince—in this gorgeous bestseller that’s “an ideal pick for fans of Holly Black, Maggie Stiefvater, and Laini Taylor” (Publishers Weekly, starred review).Isobel is an artistic prodigy with a dangerous set of clients: the sinister fair folk, immortal creatures who cannot bake bread or put a pen to paper without crumbling to dust. They crave human Craft with a terrible thirst, and Isobel’s paintings are highly prized. But when she receives her first royal patron—Rook, the autumn prince—she makes a terrible mistake. She paints mortal sorrow in his eyes—a weakness that could cost him his life. Furious, Rook spirits her away to his kingdom to stand trial for her crime. But something is seriously wrong in his world, and they are attacked from every side. With Isobel and Rook depending on each other for survival, their alliance blossoms into trust, then love—and that love violates the fair folks’ ruthless laws. Now both of their lives are forfeit, unless Isobel can use her skill as an artist to fight the fairy courts. Because secretly, her Craft represents a threat the fair folk have never faced in all the millennia of their unchanging lives: for the first time, her portraits have the power to make them feel.

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In these twenty-five essays, Darryl Pinckney has given us a view of our recent racial history that blends the social and the personal and wonders how we arrived at our current moment. Pinckney reminds us that "white supremacy isn't back; it never went away." It is this impulse to see historically that is at the core of Busted in New York and Other Essays, which traces the lineage of black intellectual history from Booker T. Washington through the Harlem Renaissance, to the Black Panther Party and the turbulent sixties, to today's Afro-pessimists, and celebrated and neglected thinkers in between. These are capacious essays whose topics range from the grassroots of protest in Ferguson, Missouri, to the eighteenth-century Guadeloupian composer Joseph Bologne, from an unsparing portrait of Louis Farrakhan to the enduring legacy of James Baldwin, the unexpected story of black people experiencing Russia, Barry Jenkins's Moonlight, and the painter Kara Walker. The essays themselves are a kind of record, many of them written in real-time, as Pinckney witnesses the Million Man March, feels and experiences the highs and lows of Obama's first presidential campaign, explores the literary black diaspora, and reflects on the surprising and severe lesson he learned firsthand about the changing urban fabric of New York. As Zadie Smith writes in her introduction to the book: "How lucky we are to have Darryl Pinckney who, without rancor, without insult, has, all these years, been taking down our various songs, examining them with love and care, and bringing them back from the past, like a Sankofa bird, for our present examination. These days Sankofas like Darryl are rare. Treasure him!"

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