Search results for ""Author Painters"

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 extraordinary witness to religious faith, the Basilica of San Francesco in Assisi is one of the great monuments of Italy, a treasure-house of masterpieces by great painters such Cimabue, Giotto, Simone Martini and Pietro Lorenzetti. The book illustrates the entire artistic patrimony of the Basilica, showing the frescoes that were damaged or destroyed during the 1997 earthquake, both in their original condition and as they now appear after restoration. This title includes texts by G. Bonsanti, M.M. Donato, G.B. Fidanza, A. Franci, A. Iacuzzi, P. Magro, F. Martin, L. Meoni, P. Mercurelli Salati, A. Monciatti, E. Neri Lusanna, R.P. Novello, G. Rocchi Coopmans de Yoldi, G. Ruf, G. Sapori. Photographs by E. and S. Ciol, G. Roli, G. Ruf. "Mirabilia Italiae" is a series unique in the world.It owes its existence to an innovative and ambitious project: an Atlas of the great monuments of Italy that will display them in all their details, from the best known to the least. This series represents a completely new way of documenting art. "Mirabilia Italiae" provides a guided tour of each monument, fully and accurately explained. Each Atlas contains hundreds of colour photographs, arranged in a precise topographical sequence and accompanied by diagrams showing the exact location of each detail. The Atlas is complemented by a volume of texts edited by the premier scholars in the field, consisting of critical essays and descriptive notes. Essays examine the monument from the art-historical point of view, and record the alterations it has undergone over time. Descriptive notes analyse the content and significance of the images.Extensive cross-references link the essays and notes to the images, facilitating consultation of the work. The General Editor of "Mirabilia Italiae" is Salvatore Settis, Director of the Scuola Normale Superiore in Pisa.

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The creator of the immensely popular Salad for President blog presents a visually rich collection of more than 75 salad recipes, with contributions and interviews by artists/creative professionals like William Wegman, Tauba Auerbach, Laurie Anderson, and Alice Waters. Julia Sherman loves salad. In the book named after her popular blog, Sherman encourages her readers to consider salad an everyday indulgence that can include cocktails, soups, family style brunch dishes, and dinner-party entrées. Every part of the meal is reimagined with a fresh, vegetable obsessed perspective. This compendium of savory recipes will tempt readers in search of diverse offerings from light to hearty: Collard Chiffonade Salad with Roasted Garlic Dressing and Crouton Crumble, Heirloom Tomatoes with Crunchy Polenta Croutons, or Flank Steak and Bean Sprouts with Miso-Kimchi Dressing. On the lighter end there are Grilled Hearts of Palm with Mint and Triple Citrus, Persimmon Caprese, and fresh Blood Marys. The recipes, while not exclusively vegetarian, are vegetable-forward and focused on high-quality seasonal produce. Sherman also includes insider tips on pantry staples and growing your own salad garden of herbs and greens. Salad—with its infinite possibilities—is a game of endless combinations, not stifling rules. And with that in mind, Salad for President offers a window into how artists approach preparing their favorite dishes. She visits sculptors, painters, photographers, and musicians in their homes and gardens, interviewing and photographing them as they cook. Utterly unique in its look into the worlds of food, art, and everyday practices, Salad for President is at once a practical resource for healthy, satisfying recipes and an inspiring look at creativity.

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A fascinating insight into the vibrant culture of Modernism, and the rich artistic world of Paris's Left Bank, Gertrude Stein's The Autobiography of Alice B. Toklas includes an introduction by Thomas Fensch in Penguin Modern Classics.For Gertrude Stein and her wife Alice B. Toklas, life in Paris was based upon the rue de Fleurus and the Saturday evenings and 'it was like a kaleidoscope slowly turning'. Picasso was there with 'his high whinnying Spanish giggle', as were Cezanne and Matisse, Hemingway and Fitzgerald. As Toklas put it - 'The geniuses came and talked to Gertrude Stein and the wives sat with me'. A light-hearted entertainment, this is in fact Gertrude Stein's own autobiography and a roll-call of all the extraordinary painters and writers she met between 1903 and 1932. Audacious, sardonic and characteristically self-confident, this is a definitive account by American in Paris.Gertrude Stein (1874-1946), a writer of experimental prose, is one of the original American Modernists. Born in Pennsylvania, she lived most of her life in Paris with her partner, Alice B. Toklas. Experimental books like Three Lives (1909), Tender Buttons (1914), and The Making of Americans (1925) established her reputation as an avant-garde stylist, and The Autobiography of Alice B. Toklas made her an international celebrity. As an experimental writer she has been an inspiration to countless novelists and poets in our century, from Ernest Hemingway and Edith Sitwell in her own time to Jack Kerouac and Robert Duncan in ours.If you enjoyed The Autobiography of Alice B. Toklas, you might like Virginia Woolf's Orlando, also available in Penguin Modern Classics.'Buttonholes the reader with its informality, its unhurried rhythms, deadpan humour and acerbic remarks'Frances Spalding, Sunday Times

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When Ralph Waldo Emerson wrote in 1837 that "Our Age is Ocular," he offered a succinct assessment of antebellum America's cultural, commercial, and physiological preoccupation with sight. In the early nineteenth century, the American city's visual culture was manifest in pamphlets, newspapers, painting exhibitions, and spectacular entertainments; businesses promoted their wares to consumers on the move with broadsides, posters, and signboards; and advances in ophthalmological sciences linked the mechanics of vision to the physiological functions of the human body. Within this crowded visual field, sight circulated as a metaphor, as a physiological process, and as a commercial commodity. Out of the intersection of these various discourses and practices emerged an entirely new understanding of vision. The Commerce of Vision integrates cultural history, art history, and material culture studies to explore how vision was understood and experienced in the first half of the nineteenth century. Peter John Brownlee examines a wide selection of objects and practices that demonstrate the contemporary preoccupation with ocular culture and accurate vision: from the birth of ophthalmic surgery to the business of opticians, from the typography used by urban sign painters and job printers to the explosion of daguerreotypes and other visual forms, and from the novels of Edgar Allan Poe and Herman Melville to the genre paintings of Richard Caton Woodville and Francis Edmonds. In response to this expanding visual culture, antebellum Americans cultivated new perceptual practices, habits, and aptitudes. At the same time, however, new visual experiences became quickly integrated with the machinery of commodity production and highlighted the physical shortcomings of sight, as well as nascent ethical shortcomings of a surface-based culture. Through its theoretically acute and extensively researched analysis, The Commerce of Vision synthesizes the broad culturing of vision in antebellum America.

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

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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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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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A beautifully illustrated history of the many inventive, poetic, and alluring ways in which color swatches have been selected and stagedThe need to categorize and communicate color has mobilized practitioners and scholars for centuries. Color Charts describes the many different methods and ingenious devices developed since the fifteenth century by doctors, naturalists, dyers, and painters to catalog fragments of colors. With the advent of industrial society, manufacturers and merchants developed some of the most beautiful and varied tools ever designed to present all the available colors. Thanks to them, society has discovered the abundance of color embodied in a plethora of materials: cuts of fabric, leather, paper, and rubber; slats of wood and linoleum; delicate skeins of silk; careful deposits of paint and pastels; fragments of lipstick; and arrangements of flower petals. These samples shape a visual culture and a chromatic vocabulary and instill a deep desire for color.Anne Varichon traces the emergence of modern color charts from a set of processes developed over the centuries in various contexts. She presents illuminating examples that bring this remarkable story to life, from ancient writings revealing attention to precise shade to contemporary designers’ color charts, dyers’ notebooks, and Werner’s famous color nomenclature. Varichon argues that color charts have linked generations of artists, artisans, scientists, industrialists, and merchants, and have played an essential and enduring role in the way societies think about color.Drawing on nearly two hundred documents from public and private collections, almost all of them previously unpublished, this wonderfully illustrated book shows how the color chart, in its many distinct forms and expressions, is a practical tool that has transcended its original purpose to become an educational aid and subject of contemplation worthy of being studied and admired.

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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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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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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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John James Audubon's The Birds of America stands as an unparalleled achievement in American art, a huge book that puts nature dramatically on the page. With that work, Audubon became one of the most adulated artists of his time, and America's first celebrity scientist. In this fresh approach to Audubon's art and science, Gregory Nobles shows us that Audubon's greatest creation was himself. A self-made man incessantly striving to secure his place in American society, Audubon made himself into a skilled painter, a successful entrepreneur, and a prolific writer, whose words went well beyond birds and scientific description. He sought status with the "gentlemen of science" on both sides of the Atlantic, but he also embraced the ornithology of ordinary people. In pursuit of popular acclaim in art and science, Audubon crafted an expressive, audacious, and decidedly masculine identity as the "American Woodsman," a larger-than-life symbol of the new nation, a role he perfected in his quest for transatlantic fame. Audubon didn't just live his life; he performed it. In exploring that performance, Nobles pays special attention to Audubon's stories, some of which—the murky circumstances of his birth, a Kentucky hunting trip with Daniel Boone, an armed encounter with a runaway slave—Audubon embellished with evasions and outright lies. Nobles argues that we cannot take all of Audubon's stories literally, but we must take them seriously. By doing so, we come to terms with the central irony of Audubon's true nature: the man who took so much time and trouble to depict birds so accurately left us a bold but deceptive picture of himself.

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As London emerged from the devastation of the Second World War, planners and policymakers sought to rebuild the city in ways that would reshape the behavior of its citizens as much as it would its buildings and infrastructure—a program defined by a strong emphasis on civic order and conservative values of national community. One of the groups most significantly affected by this new, moralistic climate of reformation and renewal was queer men, whom the police, the media, and lawmakers targeted as an urgent urban problem by marking their lives and desires as criminal and deviant. In The Spiv and the Architect, Richard Hornsey examines how queer men legitimized, resisted, and reinvented this ambitious reconstruction program, which extended from the design of basic public spaces and municipal libraries to private living rooms and home decor. From their association with the urban stereotype of the spiv (slang for a young petty criminal who lived by his wits and shirked legitimate work) and vilification in the tabloids as perverts to the assimilated homosexuals within reformist psychology, Hornsey details how these efforts to transform London fundamentally restructured the experiences and identities of gay men in the city and throughout the country. Providing the first critical history of this cultural moment, In The Spiv and the Architect weaves together a vast archive of sources—canvases and photobooth self-portraits by the painter Francis Bacon, urban planning documents and drawings, popular fiction and films, autobiographical and psychological accounts of homosexuality, design exhibitions about the modern British home, and the library books defaced by the playwright Joe Orton—to present both a radically revised account of homosexuality in postwar London and an important new narrative about mid-twentieth-century British modernity.

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John James Audubon's The Birds of America stands as an unparalleled achievement in American art, a huge book that puts nature dramatically on the page. With that work, Audubon became one of the most adulated artists of his time, and America's first celebrity scientist. In this fresh approach to Audubon's art and science, Gregory Nobles shows us that Audubon's greatest creation was himself. A self-made man incessantly striving to secure his place in American society, Audubon made himself into a skilled painter, a successful entrepreneur, and a prolific writer, whose words went well beyond birds and scientific description. He sought status with the "gentlemen of science" on both sides of the Atlantic, but he also embraced the ornithology of ordinary people. In pursuit of popular acclaim in art and science, Audubon crafted an expressive, audacious, and decidedly masculine identity as the "American Woodsman," a larger-than-life symbol of the new nation, a role he perfected in his quest for transatlantic fame. Audubon didn't just live his life; he performed it. In exploring that performance, Nobles pays special attention to Audubon's stories, some of which—the murky circumstances of his birth, a Kentucky hunting trip with Daniel Boone, an armed encounter with a runaway slave—Audubon embellished with evasions and outright lies. Nobles argues that we cannot take all of Audubon's stories literally, but we must take them seriously. By doing so, we come to terms with the central irony of Audubon's true nature: the man who took so much time and trouble to depict birds so accurately left us a bold but deceptive picture of himself.

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A unique book exploring the beauty, culture and craft of tools. Tools make our lives better. They help us to measure, plan, make, maintain, repair and make our ideas a reality. They are empowering, giving us the potential to do things for ourselves. Since pre-historic man first sharpened his first stone into a cutting implement, we have relied on tools to help us in carrying out even simple tasks. Nowadays, every industry has its own set of tools. What would a painter be without a brush, or a gardener without a fork? This book seeks to explore our relationship with these most fundamental of objects – those that allow us to realise our potential as makers, problem solvers and doers. Many are rightfully considered as design icons, whilst others reveal the improvisational skills of their owners, tweaked and adjusted to suit specific jobs through trial-and-error. Divided into three chapters – Wood and Stone; Earth, Metal and Glass; and Material, Cloth and Decoration – this book tells the story of 25 featured tools through the eyes of those whose craft and livelihood depend on them. Axes, drills, chisels, shaping tools and more are examined by masters of handmade trades from blacksmiths and spoon makers to sculptors and silversmiths. A range of ‘Collection’ features also showcase the beauty of tools en masse, as Hole & Corner explore the toolboxes of craftsmen including gardeners, upholsterers and architects. Celebrating craft, culture and skill, The Story of Tools explored the time and dedication it takes to make and master tools. This is the perfect read for anyone with a penchant for tools, crafts and beautiful design.

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A visionary new approach to the Americas during the age of colonization, made by engaging with the aural aspects of supposedly “silent” images Colonial depictions of the North and South American landscape and its indigenous inhabitants fundamentally transformed the European imagination—but how did those images reach Europe, and how did they make their impact? In Sound, Image, Silence, noted art historian Michael Gaudio provides a groundbreaking examination of the colonial Americas by exploring the special role that aural imagination played in visible representations of the New World.Considering a diverse body of images that cover four hundred years of Atlantic history, Sound, Image, Silence addresses an important need within art history: to give hearing its due as a sense that can inform our understanding of images. Gaudio locates the noise of the pagan dance, the discord of battle, the din of revivalist religion, and the sublime sounds of nature in the Americas, such as lightning, thunder, and the waterfall. He invites readers to listen to visual media that seem deceptively couched in silence, offering bold new ideas on how art historians can engage with sound in inherently “mute” media.Sound, Image, Silence includes readings of Brazilian landscapes by the Dutch painter Frans Post, a London portrait of Benjamin Franklin, Thomas Edison’s early Kinetoscope film Sioux Ghost Dance, and the work of Thomas Cole, founder of the Hudson River School of American landscape painting. It masterfully fuses a diversity of work across vast social, cultural, and spatial distances, giving us both a new way of understanding sound in art and a powerful new vision of the New World.

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A Sunday Times Art Book of the Year: the first critical illustrated biography of this much-loved artist, locating her firmly in the art worlds of late 19th- and early 20th-century London and Paris. One of the most significant British artists of the twentieth century, Gwen John (1867-1939) made her life and work within the heady art worlds of London and Paris. This critical biography demolishes the myth of Gwen John as a recluse and situates her, brilliant, singular and assured, amid a rich cultural milieu that included James McNeill Whistler, Henri Matisse, Pablo Picasso, Paula Modersohn-Becker and Maude Gonne. Art historian, curator and novelist Alicia Foster draws on previously unpublished archival sources to explore John’s many relationships with artists and writers, including her affair with Auguste Rodin, passionate friendships with Jeanne Robert Foster and Véra Oumançoff, and correspondence with, among others, the poet Rainer Maria Rilke and her Slade compatriot and fellow painter Ursula Tyrwhitt. John’s library, ranging from writing by her friends Rilke and Arthur Symonds to French philosophy and religious thought, is considered, as is her part in the increasing presence and visibility of women artists in the early-twentieth-century art world. From the life rooms of the Slade to the Paris salons, this is the story of an artist both devoted to her craft and deeply involved in the life and creativity of her era. With over 120 illustrations, Gwen John: Art and Life in London and Paris offers a lively, meticulously researched portrait of Gwen John as a vital and utterly compelling figure in twentieth-century art history.

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"Fans of Clive Cussler, Steve Berry, and Michael Crichton should...have Rollins on their mandatory reading list." -Booklist ("Starred Review") Two years after vanishing into the Sudanese desert, the leader of a British archaeological expedition, Professor Harold McCabe, stumbles out of the sands, frantic and delirious, but he dies before he can tell his story. The mystery deepens when an autopsy uncovers that someone had begun to mummify the professor's body-while he was still alive. When his remains are returned to London for further study, alarming news arrives from Egypt. The medical team who had performed the man's autopsy has fallen ill with an unknown disease that is quickly spreading throughout Cairo. Fearing the worst, a colleague of the professor reaches out to Painter Crowe, the director of Sigma Force. It appears that Professor McCabe had vanished into the desert while searching for proof of the ten plagues of Moses. As the pandemic grows, a disturbing question arises. Are those plagues starting again? Then a mysterious group of assassins leaves behind a fiery wake of destruction and death, erasing all evidence. Sigma Force turns to the archaeologist's daughter, Jane McCabe, for help. She discovers a puzzling connection to a shocking historical mystery that involves the travels of Mark Twain, the genius of Nikola Tesla, and the adventures of explorer Henry Morton Stanley. Now Sigma Force must confront a danger that will unleash a cascading series of plagues, culminating in a scourge that could kill all of the world's children ...decimating humankind forever. "[Rollins is] what you might end up with if you tossed Michael Crichton and Dan Brown into a particle accelerator together." -New York Times Book Review on The Bone Labyrinth

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Night of the Golden Butterfly concludes the Islam Quintet-Tariq Ali's much lauded series of historical novels, over twenty years in the writing, which has been translated into a dozen languages Completing an epic panorama that began in fifteenth-century Moorish Spain, the concluding novel moves between the cities of the twenty-first century, from Lahore to London, from Paris to Beijing. The narrator is rung one morning and reminded that he owes a debt of honour. The creditor is Mohammed Aflatun-known as Plato-an irascible but gifted painter living in a Pakistan where "human dignity has become a wreckage." Plato, who once specialized in stepping back from the limelight, now wants his life story written.As the tale unravels we meet Plato's London friend Alice Stepford, now a leading music critic in New York; Mrs. "Naughty" Latif, the Islamabad housewife whose fondness for generals forces her to flee to the salons of intellectually fashionable Paris, where she becomes an overnight celebrity, hailed as the Diderot of the Islamic world; and there's Jindie, the Golden Butterfly of the title, the narrator's first love. The daughter of a Chinese family long settled in Lahore, Jindie is now married to his best friend, a Republican heart surgeon in DC, whose children cannot forgive him for saving the life of a much-despised politician.Interwoven with this chronicle of contemporary life is the turbulent history of Jindie's family. Her great forebear, Dù Wénxiù, led a Muslim rebellion in Yunnan in the nineteenth century and ruled the region from his capital Dali for almost a decade as Sultan Suleiman. Night of the Golden Butterfly shows Ali in full flight, at once imaginative and intelligent, satirical and stimulating.

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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. Ambrosius Bosschaert the Elder was a Dutch Golden Age painter. The flowers in this arrangement, which include lilies, tulips, roses, and carnations, are painted with almost scientific precision. Bosschaert’s choice of a smooth copper support enhances the extraordinary detail of his brushwork. The bouquet itself, however, is a fiction: these flowers do not bloom at the same time, and would have been far too precious to cut for temporary display. 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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Following India’s independence in 1947, Indian artists creating modern works of art sought to maintain a local idiom, an “Indianness” representative of their newly independent nation, while connecting to modernism, an aesthetic then understood as both universal and presumptively Western. These artists depicted India’s precolonial past while embracing aspects of modernism’s pursuit of the new, and they challenged the West’s dismissal of non-Western places and cultures as sources of primitivist imagery but not of modernist artworks. In Art for a Modern India, Rebecca M. Brown explores the emergence of a self-conscious Indian modernism—in painting, drawing, sculpture, architecture, film, and photography—in the years between independence and 1980, by which time the Indian art scene had changed significantly and postcolonial discourse had begun to complicate mid-century ideas of nationalism.Through close analyses of specific objects of art and design, Brown describes how Indian artists engaged with questions of authenticity, iconicity, narrative, urbanization, and science and technology. She explains how the filmmaker Satyajit Ray presented the rural Indian village as a socially complex space rather than as the idealized site of “authentic India” in his acclaimed Apu Trilogy, how the painter Bhupen Khakhar reworked Indian folk idioms and borrowed iconic images from calendar prints in his paintings of urban dwellers, and how Indian architects developed a revivalist style of bold architectural gestures anchored in India’s past as they planned the Ashok Hotel and the Vigyan Bhavan Conference Center, both in New Delhi. Discussing these and other works of art and design, Brown chronicles the mid-twentieth-century trajectory of India’s modern visual culture.

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Greenport, New York, a village on the North Fork of Long Island, has become an exemplar of a little-noted national trend—immigrants spreading beyond the big coastal cities, driving much of rural population growth nationally. In Village of Immigrants, Diana R. Gordon illustrates how small-town America has been revitalized by the arrival of these immigrants in Greenport, where she lives. Greenport today boasts a population that is one-third Hispanic. Gordon contends that these immigrants have effectively saved the town’s economy by taking low-skill jobs, increasing the tax base, filling local schools, and patronizing local businesses. Greenport’s seaside beauty still attracts summer tourists, but it is only with the support of the local Latino workforce that elegant restaurants and bed-and-breakfasts are able to serve these visitors. For Gordon the picture is complex, because the wave of immigrants also presents the town with challenges to its services and institutions. Gordon’s portraits of local immigrants capture the positive and the negative, with a cast of characters ranging from a Guatemalan mother of three, including one child who is profoundly disabled, to a Colombian house painter with a successful business who cannot become licensed because he remains undocumented. Village of Immigrants weaves together these people’s stories, fears, and dreams to reveal an environment plagued by threats of deportation, debts owed to coyotes, low wages, and the other bleak realities that shape the immigrant experience—even in the charming seaport town of Greenport. A timely contribution to the national dialogue on immigration, Gordon’s book shows the pivotal role the American small town plays in the ongoing American immigrant story—as well as how this booming population is shaping and reviving rural communities.

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

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How to paint oil portraits like the Old Masters Mona Lisa. Girl with a Pearl Earring. Madame X. The infinite variety and beauty of humankind--like the mysteries behind sparkling eyes, a sly smile or an averted gaze--has captivated artists since the beginning of time. This expanded edition of Chris Saper's best-selling guide, Classic Portrait Painting in Oils, reveals keys for mastering how to paint beautiful portraits in oil to create soulful works of art. Through easy-to-follow lessons and expert oil painting tips and techniques, you'll find secrets for working from life, using reference photos and more to create rich, realistic portraits imbued with timeless character. 14 step-by-step demonstrations teach how to paint 7 diverse subjects of varying skin tones from life and from photographic reference Additional exercises reveal expert oil painting techniques for defining facial details, like eyes, mouths, wrinkles, facial hair and eyeglasses Professional tips for working from life, including ideal session times, posing, seeing and mixing color and even how to work with children The basics of using natural, artificial, creative and "Rembrandt" lighting to light your subject and convey a mood Expanded key concepts of "perfect practice," the importance of regularly painting subjects in real time and an insistence on excellent photographic reference material, including a checklist for how to take--and self-edit--your own quality photos New material on how to approach and execute paid commissions, including step-by-step demonstrations for painting both corporate and family subjects Through Saper's universal techniques, painters of all skill levels will learn to render more realistic portraits of every subject they paint, with predictable and joyful results.

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Duchess of Cork Street is the autobiography of a remarkable woman who, educated in the culturally unsophisticated milieu of South Africa, managed by charm, determination and good judgment to establish herself as a doyenne of the London art world between about 1950 and the late 1970s. Although Lillian Browse had originally had ambitions to become a ballet-dancer, she joined the staff of the well known Leger Gallery in the early 1930s, and in 1945 she set up a new art gallery called Roland, Browse and Delbanco in Cork Street in the west end of London together with two fellow art dealers, thus coming to know through her varied experiences many of the most distinguished people of her time as clients and friends. She had worked with Sir Kenneth Clark on planning exhibitions in the National Gallery during the war. Her gallery soon acquired a reputation for quality and integrity and, with her distinctive and influential taste, she pioneered the study of important French and English painters and sculptors, among them Degas, Rodin, Sickert, William Nicholson and Augustus John, and she also gave consistent support to an expanding group of living artists. She was active in the world of art-dealing for over fifty years. During that period the character of the profession changed out of all recognition. Although the spotlight has now moved from London to New York for a variety of reasons, she is by no means despairing of the future. The number of galleries is growing fast, especially away from central London. Above all, there is a much wider interest in art and appreciation of living artists in Britain than ever before. She played a significant role in helping to bring that about. Lillian Browse, who was awarded the CBE in 1998, remains a popular and revered personality in the art world. Her book has been eagerly awaited.

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Biography of three artists closely associated with the Pre-Raphaelites whose letters give a vivid insight into the dramas of their personal life. Joanna, George and Henry tells the story of the intertwined lives of three young artists in the 1850s. When the transcript of the material on which this group portrait is based came to light ten years ago, no one could haveimagined the drama within. They were family letters: letters from a young woman to her brother and later to her suitor - of interest chiefly because all three were painters, and all were active participants in the youthful Pre-Raphaelite revolution that swept England in the 1850s. They turned out to be a revelation - giving not only a comprehensive picture of what it was like to be an artist in the mid-19th century, but containing within them a powerful family drama and a most unusual love story. It is a love story, moreover, told largely from a woman's point of view. Joanna Boyce's dedication to her art was absolute: she studied in Paris under Thomas Couture and had her first painting exhibited at the Academy when she was only 24. She was headstrong, self-critical, opinionated and teasing - "an artist with her pen as well as her brush". She died tragically young. Between them, Joanna, her brother George and suitor Henry Wells knew all the artistic luminaries of the day, among them Ruskin, Millais and Rossetti (with whom George shared a great deal, including mistresses). They wrote to each other not just about art, butabout their friends, their favourite books, their travels, their illnesses, their passions and their quarrels. In this book, they tell their story in their own vivid words - a story which portrays the age in which they lived andthe powerful drama of their emotional and professional lives.

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An aesthetic and social history of art and dance in mid-20th-century New York interpreted by contemporary artist Nick Mauss Over the past decade, Nick Mauss (b. 1980) has pursued a hybrid mode of working that melds the roles of curator, artist, and scholar. Following his highly acclaimed 2018 Whitney Museum of American Art exhibition Transmissions, this volume elaborates on the artist’s complex portrait of mid-century New York as seen through the prism of modernist ballet. By pairing installation views of the exhibition and photographs of its daily performances by Paula Court and Ken Okiishi with reproductions of artworks, ballet programs, and fashion magazines, Transmissions animates the vividly enmeshed social and artistic networks that shaped both modern art and modern ballet. Through his emphasis on the collaborations and intimacies between models, dancers, photographers, choreographers, painters, sculptors, filmmakers, publishers, critics, amateurs, and devotees, Mauss re-calibrates the standard narrative of American modernism to locate performance, spectatorship, and the eroticized body at its center.Transmissions features reproductions of documents and artworks—a number published here for the first time—by Paul Cadmus, George Platt Lynes, Dorothea Tanning, Carl Van Vechten, Isamu Noguchi, Pavel Tchelitchew, Walker Evans, Ilse Bing, PaJaMa, Man Ray, Maya Deren, Marcel Duchamp, Elie Nadelman, Eugene Berman, Peter Hujar, and many more. Additional texts address the subjects of ballet and the body, Mauss’s work as an artist and curator, and performance within museum spaces, while an extensive conversation with the sixteen dancers who participated in the Whitney exhibition brings rare insight into the labor of making performance-based work while negotiating diverging legacies of embodiment. Distributed for the Whitney Museum of American Art and Dancing Foxes Press

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

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

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

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

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

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

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