The Fuehrer had begun cataloguing the art he planned to collect as well as the art he would destroy: "degenerate" works he despised.
In a race against time, behind enemy lines, often unarmed, a special force of American and British museum directors, curators, art historians, and others, called the Momuments Men, risked their lives scouring Europe to prevent the destruction of thousands of years of culture.
Focusing on the eleven-month period between D-Day and V-E Day, this fascinating account follows six Monuments Men and their impossible mission to save the world's great art from the Nazis.
There's more to manga than big, shiny eyes and funky hair. In these action-packed pages, graphic novelist Mark Crilley shows you step-by-step how to achieve an authentic manga style—from drawing faces and figures to laying out awesome, high-drama spreads. You'll learn how a few basic lines will help you place facial features in their proper locations and simple tricks for getting body proportions right. Plus, you'll find inspiration for infusing your work with expression, attitude and action.
This is the book fans have been requesting for years, packed with expert tips on everything from hairstyles and clothing to word bubbles and sound effects, delivered in the same friendly, easy-to-follow style that has made Mark Crilley one of the "25 Most Subscribed to Gurus on YouTube." Take this opportunity to turn the characters and stories in your head into professional-quality art on the page!
Packed with everything you need to make your first (or your best-ever) manga stories! 30 step-by-step demonstrations showing how to draw faces and figures for a variety of ages and body types Inspirational galleries featuring 101 eyes, 50 ways to draw hands, 40 hairstyles, 12 common expressions, 30 classic poses and more! Tutorials to create a variety of realistic settings Advanced lessons on backgrounds, inking, sequencing and layout options
This book aims to provide a comprehensive survey of the subject over a wide range of materials, emphasising how the fakes and forgeries are produced and how they may be detected by technical and scientific examination. The subject is exemplified by numerous case studies, some turning out not to be as conclusive as is sometimes believed.
The book is aimed at those likely to have a serious interest in these investigations, be they curator, collector, conservator or scientist.
Paul Craddock has recently retired from the Department of Conservation, Documentation and Science at the British Museum, where he was a materials scientist.
"Not only is it a splendid exploration of several aspects of early modernism in their political context; it is an indicator of how the discipline of intellectual history is currently practiced by its most able and ambitious craftsmen. It is also a moving vindication of historical study itself, in the face of modernism's defiant suggestion that history is obsolete."
-- David A. Hollinger, History Book Club Review
"Each of [the seven separate studies] can be read separately....Yet they are so artfully designed and integrated that one who reads them in order is impressed by the book's wholeness and the momentum of its argument."
-- Gordon A. Craig, The New Republic
"A profound work...on one of the most important chapters of modern intellectual history" -- H.R. Trevor-Roper, front page, The New York Times Book Review
"Invaluable to the social and political historian...as well as to those more concerned with the arts" -- John Willett, The New York Review of Books
"A work of original synthesis and scholarship. Engrossing."
Source countries and archaeologists favor tough cultural property laws restricting the export of antiquities, have fought for the return of artifacts from museums worldwide, and claim the acquisition of undocumented antiquities encourages looting of archaeological sites. In Whose Culture?, leading figures from universities and museums in the United States and Britain argue that modern nation-states have at best a dubious connection with the ancient cultures they claim to represent, and that archaeology has been misused by nationalistic identity politics. They explain why exhibition is essential to responsible acquisitions, why our shared art heritage trumps nationalist agendas, why restrictive cultural property laws put antiquities at risk from unstable governments--and more. Defending the principles of art as the legacy of all humankind and museums as instruments of inquiry and tolerance, Whose Culture? brings reasoned argument to an issue that for too long has been distorted by politics and emotionalism.
In addition to the editor, the contributors are Kwame Anthony Appiah, Sir John Boardman, Michael F. Brown, Derek Gillman, Neil MacGregor, John Henry Merryman, Philippe de Montebello, David I. Owen, and James C. Y. Watt.
The Artist's Workbooks series are practical guides for artists for artists interested in getting to grips with a particular subject.
Discussing the historical development of museums alongside that of the fair and the international exhibition, Bennett sheds new light upon the relationship between modern forms of official and popular culture.
Using Foucaltian perspectives The Birth of the Museum explores how the public museum should be understood not just as a place of instruction, but as a reformatory of manners in which a wide range of regulated social routines and performances take place.
This invigorating study enriches and challenges the understanding of the museum, and places it at the centre of modern relations between culture and government. For students of museum, cultural and sociology studies, this will be an asset to their reading list.
With contributions from an international group of experts and interviews with important artists, this volume provides an all-encompassing guide to necessary background knowledge in technical art history, artists' materials, scientific methods of examination and documentation, with sections that present varying approaches and methods for treatment, including consolidation, lining, cleaning, retouching, and varnishing. The book concludes with a section featuring issues of preventive conservation, storage, shipping, exhibition, lighting, safety issues, and public outreach.
Conservation of Easel Paintings is a crucial resource in the training of conservation students and will provide generations of practicing paintings conservators and interested art historians, curators, directors, collectors, dealers, artists, and students of art and art history with invaluable information and guidance.
Ward's guide in this journey is a contemporary artist whose own life was transformed by the painting, a simple man named Angelo who shows him where it still hangs in a small church in Naples and whose story helps him see its many layers. As Ward unfolds the structure of the painting, he explains each of the seven mercies and its influence on Caravaggio’s troubled existence. Caravaggio encountered the whole range of Naples’s vertical social layers, from the lowest ranks of poverty to lofty gilded aristocratic circles, and Ward reveals the old city behind today's metropolis. Fusing elements of history, biography, memoir, travelogue, and journalism, his narrative maps the movement from estrangement to grace, as we witness Caravaggio’s bruised life gradually redeemed by art.
Skyhorse Publishing, along with our Arcade, Good Books, Sports Publishing, and Yucca imprints, is proud to publish a broad range of biographies, autobiographies, and memoirs. Our list includes biographies on well-known historical figures like Benjamin Franklin, Nelson Mandela, and Alexander Graham Bell, as well as villains from history, such as Heinrich Himmler, John Wayne Gacy, and O. J. Simpson. We have also published survivor stories of World War II, memoirs about overcoming adversity, first-hand tales of adventure, and much more. While not every title we publish becomes a New York Times bestseller or a national bestseller, we are committed to books on subjects that are sometimes overlooked and to authors whose work might not otherwise find a home.
Illustrated throughout with full colour images reproduced to the highest possible quality, this book is based on years of painstaking research into the visual and optical properties of pigments.
Now combined with the Pigment Dictionary, the most thorough reference to pigment names and synonyms avaiable, the Pigment Compendium is a major addition to the study and understanding of historic pigments.
This richly illustrated book evaluates rock-art conservation in an holistic way, bringing together researchers from across the world to share experiences of work in progress or recently completed. The chapters focus on a series of key themes: documentation projects and resource assessments; the identification and impact assessment of weathering/erosion processes at work in open-air rock-art sites; the practicalities of potential or implemented conservation interventions; experimentation and monitoring programs; and general management issues connected with public presentation and the demands of ongoing research investigations. Consideration is given to the conservation of open-air rock-art imagery from many periods and cultural traditions across the Old and New Worlds. This timely volume will be of interest to conservators, managers, and researchers dealing with aesthetic and ethical issues as well as technical and practical matters regarding the conservation of open-air rock-art sites.
The papers present diverse new research and practice in the field, and open up debate about the role, design and process of exhibition interpretation in museums, art galleries and historic sites. The authors represent both academics and practitioners, and are affiliated with high quality institutions of broad geographical scope. The result is a strong, consistent representation of current thinking across the theory, methodology and practice of interpretation design for learning in museums.
The book will be of interest to students and scholars of Korean Studies, Culture and Heritage Studies and Asian Studies.
The contributors focus on the principles and practice of management in the 1990s, covering such crucial aeas as the management of contract and field archaeology, heritage management, marketing, law and information technology. The resulting volume is important and informative reading for archaeologists and heritage managers, as well as planners, policy makers and environmental consultants.
The book uses case studies from England, Ireland and the US to illustrate the use of different materials and techniques on buildings ranging in age.
Written by Dr. Gerard Lynch, the leading authority in this subject area, this book will be of particular interest to architectural historians, architects working on historic buildings and building conservators.
ABOUT THE BOOK
It is impossible to separate Frida Kahlo's work from her life. This most autobiographical of artists created a virtual timeline in her paintings that spanned her entire career as an artist. From the time she began painting while recovering from a brutal accident that left her disabled, to her final struggles, shortly before her death, with a body that was literally wired together, Frida Kahlo chronicled her life on canvas. Above the gruesome aspects of her injuries, above the pain and the surgeries, rose a white hot flame of passion and creativity. When Frida Kahlo suffered, she suffered intensely; when she celebrated, her world became a celebration.
Because of the intensity of these highs and lows, the visceral effect of Frida Kahlo's work hits you with a virtual punch to the stomach. Before you realize it, you're drawn into her world, captivated by those solemn, staring portraits which, in turn, are scrutinizing you as well.
‘Curate’ is now a buzzword applied to everything from music festivals to artisanal cheese. Inside the art world, the curator reigns supreme, acting as the face of high-profile group shows and biennials in a way that can eclipse and assimilate the contributions of individual artists. At the same time, curatorial studies programs continue to grow in popularity, and businesses are increasingly adopting curation as a means of adding value to content and courting demographics. Everyone, it seems, is a now a curator. But what is a curator, exactly? And what does the explosive popularity of curating say about our culture’s relationship with taste, labour and the avant-garde?
In this incisive and original study, critic David Balzer travels through art history and around the globe to explore the cult of curation – where it began, how it came to dominate museums and galleries, and how it was co-opted at the turn of the millennium as the dominant mode of organizing and giving value to content. At the centre of the book is a paradox: curation is institutionalized and expertise-driven like never before, yet the first independent curators were not formally trained, and any act of choosing has become ‘curating.’ Is the professional curator an oxymoron? Has curation reached a sort of endgame, where its widespread fetishization has led to its own demise?
David Balzer has contributed to publications including the Believer, Modern Painters, Artforum.com, and The Globe and Mail, and is the author of Contrivances, a short-fiction collection. He is currently Associate Editor at Canadian Art magazine. Balzer was born in Winnipeg and currently resides in Toronto, where he makes a living as a critic, editor and teacher.
Contributors cover a wide range of issues including:conservation practice the monitoring and control of light relative humidity and atmospheric pollution packing, handling and transportation of collections storage and access to collections biological infestation disaster planning.
Including material and sources that have, up until now, not easily been available, students of museum studies and proffessionals within the industry now have this invaluable aid to their work.
The Lives' colorful and detailed portraits of the most representative figures of Italian painting and sculpture trace the flowering of the Renaissance across three centuries. This single-volume edition of selections from Vasari's immense work features eight of the book's most noteworthy artists: Giotto, Masaccio, Fra Filippo Lippi, Botticelli, Leonardo, Raphael, Michelangelo, and Titian. It also includes an introduction, notes, and glossary; as well as woodcut portraits of each artist by Vasari himself. Students, teachers, and art enthusiasts will find this convenient edition an indispensable resource.
Chapters explore the role of fashion in the museum across a range of international case studies including the Costume Institute at the Metropolitan Museum of Art in New York, The Fashion Museum at Bath, ModeMuseum in Antwerp and many more. Contributions look at topics such as how fashion has made museums accessible to diverse audiences and how curators present broader themes and issues such as gender, class and technology innovatively through exhibiting fashion.
Drawing on approaches from dress history, fashion studies, museum studies and curatorship, this engaging book will be key reading for students and scholars across a range of disciplines.
Boggle at the enormity of space, get nostalgic at childhood memories or be dumbstruck by the International Museum of Toilets... Whether you're a history buff, tech-head or have an inexplicable fascination with clowns, you'll find world-class collections here to pique your interest.
Never drag your heels around a dull museum again!
Then & now // History museumsAcropolis Museum // Greece British Museum // UK Forbidden City // China Goethe House & Goethe Museum // Germany Imperial War Museum // UK Museum of Alchemists & Magicians of Old Prague // Czech Republic Museum of Mummies of Guanajuato // Mexico National Museum of Anthropology // Mexico Old Operating Theatre Museum & Herb Garret // UK Prison Gate Museum // The Netherlands Sir John Soane's Museum // UK Styrian Armoury // Austria Torture Museum // The Netherlands Vasa Museum // Sweden Viking Ship Museum // Norway Whitney Plantation // USA
The world around us // Natural history museumsKunstkamera // Russia 6 Messner Mountain Museum // Italy Sarawak State Museum // Malaysia Smithsonian Institution // USA
Human creativity // Art & culture museumsAmerican Classic Arcade Museum // USA Belgian Brewers Museum // Belgium Burlesque Hall of Fame // USA Coffee Museum // Brazil Erawan Museum // Thailand Ghibli Museum // Japan Grammy Museum // USA The Green Vault // Germany Museum of Childhood // UK Musical Instruments Museum // USA Soumaya Museum // Mexico Vodka Museum // Russia
Things that go // Science & technology museumsBicycle Museum of America // USA Big Hole & Open Mine Museum // South Africa Exploratorium // USA National Maritime Museum // France National Rail Museum // UK New Mexico Museum of Space History // USA New York City Fire Museum // USA Pencil Museum // UK Porsche Museum // Germany Sewer Museum // France Sulabh International Museum of Toilets // India
Peculiar passions // Quirky museumsAvanos Hair Museum // Turkey Clown Hall of Fame & Research Centre // USA Cupnoodles Museum // Japan Gopher Hole Museum // Canada International Cryptozoology Museum // USA Museum of Broken Relationships // Croatia Watermelon Museum // China
About Lonely Planet: Started in 1973, Lonely Planet has become the world's leading travel guide publisher with guidebooks to every destination on the planet. Lonely Planet's mission is to enable curious travellers to experience the world and to truly get to the heart of the places they find themselves in.
TripAdvisor Travelers' Choice Awards 2012, 2013, 2014, and 2015 winner in Favorite Travel Guide category
'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)
In 1923 I began to write my memoirs. They began like this: “I come from two of the best Jewish families. One of my grandfathers was born in a stable like Jesus Christ or, rather, over a stable in Bavaria, and my other grandfather was a peddler.” I don’t seem to have gotten very far with this book. Maybe I had nothing to say, or possibly I was too young for the task which I had set myself. Now I feel I am ripe for it. By waiting too long I may forget everything I have somehow managed to remember.
If my grandfathers started life modestly they ended it sumptuously. My stable-born grandfather, Mr. Seligman, came to America in steerage, with forty dollars in his pocket and contracted smallpox on board ship. He began his fortune by being a roof shingler and later by making uniforms for the Union Army in the Civil War. Later he became a renowned banker and president of Temple Emanu-el. Socially he got way beyond my other grandfather, Mr. Guggenheim the peddler, who was born in St. Gallen in German Switzerland. Mr. Guggenheim far surpassed Mr. Seligman in amassing an enormous fortune and buying up most of the copper mines of the world, but he never succeeded in attaining Mr. Seligman’s social distinction. In fact, when my mother married Benjamin Guggenheim the Seligmans considered it a mésalliance. To explain that she was marrying into the well known smelting family, they sent a cable to their kin in Europe saying, “Florette engaged Guggenheim smelter.” This became a great family joke, as the cable misread “Guggenheim smelt her.”
By the time I was born the Seligmans and the Guggenheims were extremely rich. At least the Guggenheims were and the Seligmans hadn’t done so badly. My grandfather, James Seligman, was a very modest man who refused to spend money on himself and underfed his trained nurse. He lived sparsely and gave everything to his children and grandchildren. He remembered all our birthdays and, although he did not die until ninety-three, he never failed to make out a check on these occasions. The checks were innumerable, as he had eleven children and fifteen grandchildren.
Most of his children were peculiar, if not mad. That was because of the bad inheritance they received from my grandmother. My grandfather finally had to leave her. She must have been objectionable. My mother told me that she could never invite young men to her home without a scene from her mother. My grandmother went around to shopkeepers and, as she leaned over the counter, asked them confidentially, “When do you think my husband last slept with me?”
My mother’s brothers and sisters were very eccentric. One of my favorite aunts was an incurable soprano. If you happened to meet her on the corner of Fifth Avenue while waiting for a bus, she would open her mouth wide and sing scales trying to make you do as much. She wore her hat hanging off the back of her head or tilted over one ear. A rose was always stuck in her hair. Long hatpins emerged dangerously, not from her hat, but from her hair. Her trailing dresses swept up the dust of the streets. She invariably wore a feather boa. She was an excellent cook and made beautiful tomato jelly. Whenever she wasn’t at the piano, she could be found in the kitchen or reading the ticker-tape. She was an inveterate gambler. She had a strange complex about germs and was forever wiping her furniture with lysol. But she had such extraordinary charm that I really loved her. I cannot say her husband felt as much. After he had fought with her for over thirty years, he tried to kill her and one of her sons by hitting them with a golf club. Not succeeding, he rushed to the reservoir where he drowned himself with heavy weights tied to his feet.
This invaluable art reference book reveals the creative impulse behind every major art movement, from the Renaissance to Surrealism and abstract to pop art, with a visual timeline to show famous paintings and key events. Turning-point paintings that triggered movements are identified and explained as well as the influences behind the famous artworks such as technical advances, admired techniques of earlier artists, and changes in society. You'll learn why Boudin's Beach Scene inspired the impressionist movement and why Monet's Grainstacks defined it. Vivid images of artistic masterpieces from each style and a glossary of terms make this an indispensable work of reference.
Covering the evolution of each major art genre as well as featuring the famous paintings that ignited new artistic movements, Art That Changed the World presents the history of art in a visually stunning way, that is perfect for art-lovers, exhibition-goers and anyone who appreciates great art.
A renowned authority on the works and personality of Leonardo, author Edward McCurdy translated many of the artist's writings. "In the thousands of pages of his manuscript he has left the mirror of his thought," McCurdy observes, "and there his mind may be seen at work, moving among the phenomena of nature and the inherited knowledge of antiquity, trying all things, expounding all things, proving all things." McCurdy begins by tracing the artist's travels, from his native Florence to Milan, Venice, Rome, and France. Part Two examines the manuscripts and their philosophical revelations, and the third section assesses the paintings and sculpture. First published in 1928, this book remains one of the best introductions to Leonardo and his extraordinary versatility.
"Beautiful, haunted, evocative and so open to where memory takes you. I kept thinking that this is the book that I have waited for: where objects, and poetry intertwine. Just wonderful and completely sui generis." (Edmund de Waal, author of The Hare with Amber Eyes)
An unforgettable voyage across the reaches of America and the depths of memory, Red Brick, Black Mountain, White Clay follows one incredible family to discover a unique craft tradition grounded in America¹s vast natural landscape. Looking back through the generations, renowned critic Christopher Benfey unearths an ancestry--and an aesthetic--that is quintessentially American. His mother descends from colonial explorers and Quaker craftsmen, who carved new arts from the trackless wilds of the frontier. Benfey¹s father escaped from Nazi Europe--along with his aunt and uncle, the famed Bauhaus artists Josef and Anni Albers--by fleeing across the Atlantic and finding an eventual haven in the American South.
Bricks form the backbone of life in North Carolina¹s rural Piedmont, where Benfey¹s mother was raised among centuries-old folk potteries, tobacco farms, and clay pits. Her father, like his father before him, believed in the deep honesty of brick, that men might build good lives with the bricks they laid. Nurtured in this red-clay world of ancient craft and Quaker radicalism, Benfey¹s mother was poised to set out from home when a tragic romance cracked her young life in two. Salvaging the broken shards of his mother¹s past and exploring the revitalized folk arts resisting industrialization, Benfey discovers a world brimming with possibility and creativity.
Benfey¹s father had no such foundation in his young life, nor did his aunt and uncle. Exiled artists from Berlin¹s Bauhaus school, Josef and Anni Albers were offered sanctuary not far from the Piedmont at Black Mountain College. A radical experiment in unifying education and art, Black Mountain made a monumental impact on American culture under Josef¹s leadership, counting Robert Rauschenberg, John Cage, and Buckminster Fuller among its influential students and teachers. Focusing on the natural world, innovative craftsmanship, and the physical reality of materials, Black Mountain became a home and symbol for an emerging vision of American art.
Threading these stories together into a radiant and mesmerizing harmony, Red Brick, Black Mountain, White Clay is an extraordinary quest to the heart of America and the origins of its art.
Accessibly written and well illustrated, the book outlines the social and cultural history of fashion thematically, and contains a wide range of global case studies on key designers, styles, movements and events.
The new edition has been revised and expanded: there are new sections on eco-fashion, fashion and the museum, major changes in the fashion market in the 21st century (including the impact of new media and retailing networks), new technologies, fashion weeks, the rise of asian fashion centers and more. There are twice as many illustrations.
In its second edition, A Cultural History of Fashion in the 20th and 21st Centuries is the ideal introductory text for all students of fashion.
In Ether, the histories of mysticism and the unseen merge with discussions of the technology and science of electromagnetism. Joe Milutis explores how the ideas of Anton Mesmer and Isaac Newton have manifested themselves as the inspiration for occult theories and artistic practices from Edgar Allan Poe’s works to today. In doing so, he demonstrates that fading in and out of scientific favor has not prevented the ether, a uniquely immaterial concept, from being a powerful force for material progress.
Milutis deftly weaves the origins of electrical science with alchemical lore, nineteenth-century industrialism with yogic science, and network space with dreams of the absolute. Linking the ether to phenomena such as radio noise, space travel, avant-garde film, and the rise of the Internet, he lends it an almost physical presence and currency. From Federico Fellini to Gilles Deleuze, Japanese anime to Italian Futurism, Jean Cocteau to NASA, Shirley Temple to Wilhelm Reich, Ether traverses geographical boundaries, spiritual planes, and the divide between popular and high culture.
Navigating more than three hundred years of the ether’s cultural and artistic history, Milutis reveals its continuous reinvention and tangible impact without ever losing sight of its ephemeral, elusive nature. The true meaning of ether, Milutis suggests, may be that it can never be fully grasped.
Joe Milutis is assistant professor of art at the University of South Carolina. His writing has appeared in such publications as ArtByte, Wide Angle, Film Comment, and Cabinet.
In this eminently fascinating work, author Philip Ball makes sense of the visual and emotional power of Chartres and brilliantly explores how its construction—and the creation of other Gothic cathedrals—represented a profound and dramatic shift in the way medieval thinkers perceived their relationship with their world. Beautifully illustrated and written, filled with astonishing insight, Universe of Stone embeds the magnificent cathedral in the culture of the twelfth century—its schools of philosophy and science, its trades and technologies, its politics and religious debates—enabling us to view this ancient architectural marvel with fresh eyes.
Meyer Guggenheim, a Swiss immigrant, founded a great American business dynasty. At their peak in the early twentieth century, the Guggenheims were reckoned among America's wealthiest, and the richest Jewish family in the world after the Rothschilds. They belonged to Our Crowd, that tight social circle of New York Jewish plutocrats, but unlike the others -- primarily merchants and financiers -- they made their money by extracting and refining copper, silver, lead, tin, and gold.
The secret of their success, the patriarch believed, was their unity, and in the early years Meyer's seven sons, under the leadership of Daniel, worked as one to expand their growing mining and smelting empire. Family solidarity eventually decayed (along with their Jewish faith), but even more damaging was the paucity of male heirs as Meyer and the original set of brothers passed from the scene.
In the third generation, Harry Guggenheim, Daniel's son, took over leadership and made the family a force in aviation, publishing, and horse-racing. He desperately sought a successor but tragically failed and was forced to watch as the great Guggenheim business enterprise crumbled.
Meanwhile, "Guggenheim" came to mean art more than industry. In the mid-twentieth century, led by Meyer's son Solomon and Solomon's niece Peggy, the Guggenheims became the agents of modernism in the visual arts. Peggy, in America during the war years, midwifed the school of abstract expressionism, which brought art leadership to New York City. Solomon's museum has been innovative in spreading the riches of Western art around the world. After the generation of Harry and Peggy, the family has continued to produce many accomplished members, such as publisher Roger Straus II and archaeologist Iris Love.
In The Guggenheims, through meticulous research and absorbing prose, Irwin Unger, the winner of a Pulitzer Prize in history, and his wife, Debi Unger, convey a unique and remarkable story -- epic in its scope -- of one family's amazing rise to prominence.
How did the most precious color blue travel all the way from remote lapis mines in Afghanistan to Michelangelo’s brush? What is the connection between brown paint and ancient Egyptian mummies? Why did Robin Hood wear Lincoln green? In Color, Finlay explores the physical materials that color our world, such as precious minerals and insect blood, as well as the social and political meanings that color has carried through time.
Roman emperors used to wear togas dyed with a purple color that was made from an odorous Lebanese shellfish–which probably meant their scent preceded them. In the eighteenth century, black dye was called logwood and grew along the Spanish Main. Some of the first indigo plantations were started in America, amazingly enough, by a seventeen-year-old girl named Eliza. And the popular van Gogh painting White Roses at Washington’s National Gallery had to be renamed after a researcher discovered that the flowers were originally done in a pink paint that had faded nearly a century ago. Color is full of extraordinary people, events, and anecdotes–painted all the more dazzling by Finlay’s engaging style.
Embark upon a thrilling adventure with this intrepid journalist as she travels on a donkey along ancient silk trade routes; with the Phoenicians sailing the Mediterranean in search of a special purple shell that garners wealth, sustenance, and prestige; with modern Chilean farmers breeding and bleeding insects for their viscous red blood. The colors that craft our world have never looked so bright.
From the Hardcover edition.
With a novelist's skill and the insight of an historian, King recalls a seminal period when Paris was the artistic center of the world, and a revolutionary movement had the power to electrify and divide a nation.
* Includes reproductions of art’s most monumental paintings
* Concise introductions to the masterpieces, giving valuable contextual information on each artist and artwork
* Enlarged ‘Detail’ images, allowing you to explore the celebrated works in detail, as featured in traditional print art books
* Hundreds of images in colour – highly recommended for viewing on tablets and smart phones or as a valuable reference tool on more conventional eReaders
* Easily locate the paintings you wish to view with a linked contents table
* Chart the history of art in chronological order
Please note: due to existing copyrights, Picasso and Matisse are unable to appear in the eBook.
SCENES FROM THE LIFE OF JOACHIM by Giotto
THE EXPULSION FROM THE GARDEN OF EDEN by Masaccio
THE ARNOLFINI PORTRAIT by Jan van Eyck
THE BAPTISM OF CHRIST by Piero della Francesca
PRIMAVERA by Sandro Botticelli
THE LAST SUPPER by Leonardo da Vinci
SELF PORTRAIT, 1498 by Albrecht Dürer
PORTRAIT OF DOGE LEONARDO LOREDAN by Giovanni Bellini
MONA LISA by Leonardo da Vinci
THE LAST JUDGMENT by Michelangelo
THE SCHOOL OF ATHENS by Raphael
SLEEPING VENUS by Giorgione
ASSUMPTION OF THE VIRGIN by Titian
THE PEASANT WEDDING by Pieter Bruegel the Elder
THE LAST SUPPER by Tintoretto
CALLING OF SAINT MATTHEW by Caravaggio
JUDITH SLAYING HOLOFERNES by Artemisia Gentileschi
ET IN ARCADIA EGO by Nicolas Poussin
THE EMBARKATION OF THE QUEEN OF SHEBA by Claude Lorrain
LAS MENINAS by Diego Velázquez
PEACE AND WAR by Sir Peter Paul Rubens
THE GIRL WITH THE PEARL EARRING by Johannes Vermeer
SELF PORTRAIT WITH PALETTE AND BRUSHES by Rembrandt van Rijn
THE ENTRANCE TO THE GRAND CANAL, VENICE by Canaletto
THE MARRIAGE SETTLEMENT by William Hogarth
THE SWING by Jean-Honoré Fragonard
THE BLUE BOY by Thomas Gainsborough
OATH OF THE HORATII by Jacques-Louis David
THE NUDE MAJA by Francisco de Goya
THE HAY WAIN by John Constable
WANDERER ABOVE THE SEA OF FOG by Caspar David Friedrich
LIBERTY LEADING THE PEOPLE by Eugène Delacroix
THE FIGHTING TEMERAIRE by J. M. W. Turner
OLYMPIA by Édouard Manet
IMPRESSION, SUNRISE by Claude Monet
PROSERPINE by Dante Gabriel Rossetti
THE DANCING CLASS by Edgar Degas
NOCTURNE IN BLACK AND GOLD: THE FALLING ROCKET by James Abbott McNeill Whistler
AT THE MOULIN DE LA GALETTE by Pierre-Auguste Renoir
MADAME X by John Singer Sargent
STILL LIFE: VASE WITH TWELVE SUNFLOWERS by Vincent van Gogh
THE SCREAM by Edvard Munch
WHERE DO WE COME FROM? WHAT ARE WE? WHERE ARE WE GOING? by Paul Gauguin
THE LARGE BATHERS by Paul Cézanne
THE KISS by Gustav Klimt
PORTRAIT OF WALLY by Egon Schiele
SMALL PLEASURES by Wassily Kandinsky
SEATED NUDE by Amedeo Modigliani
RED BALLOON by Paul Klee
TABLEAU I by Piet Mondrian
Please visit www.delphiclassics.com to browse through our range of exciting titles or to buy the whole Art series as a Super Set
The Pullulations of the Tribe, by Adrian Cole
The Dead of Night, by Christian Riley
Mother of My Children, by Bruce L. Priddy
The Man Who Murders Happiness, by John R. Fultz
A Handful of Dust, by Tom English
Revolution à l’Orange, by Paul Lubaczewski
Fiends of the Southern Plains, by Patrick Tumblety
The Pyrrhic Crusade, by Stanley B. Webb
The Migration of Memories, by Charles Wilkinson
Maquettes, by Paul St John Mackintosh
In the Shadows, by J.S. Watts
“The Spot,” by C.R. Langille
Schism in the Sky, by Donald McCarthy
To Roam the Universe, Forgotten and Free, by Janet Harriett
Rejuvenate, by Lily Luchesi
Vigil Night, by Lorenzo Crescentini
Dead Clowns for Christmas, by L.J. Dopp
The Tale and the Teller, by Darrell Schweitzer
Plus poetry by K.A. Opperman, Frederick J. Mayer, James Matthew Byers, and Jessica Amanda Salmonson
The volume will include an introduction and two final, synoptic essays, as well as contributions from some of the most prominent thinkers on religion and art including Boris Groys, James Elkins, Thierry de Duve, David Morgan, Norman Girardot, Sally Promey, Brent Plate, and Christopher Pinney.
Though noted for his attention to the female figure, Degas executed many studies of grouped horses and jockeys from which he would use figures in later compositions. Later in his career, Degas experimented with mixing drawing media and printmaking techniques. He began the drawing in 1885 using an impression from his 1877–78 lithographs of a concert at Café des Ambassadeurs, which he extended along the bottom and right edges, and drew over in dense strokes of pastel. Degas first produced a mono-type—a unique print made from drawing in ink on a metal or glass plate—of two singers on stage, seen from behind, with a view to the audience. He then enlivened the print with richly colored pastels. In the village of Diénay near Dijon, Degas recalled scenery from the drive through the Burgundian countryside and produced about fifty mono-type landscapes. To create this drawing, he used oil paint (and apparently his fingers) to indicate a few lines of landscape on the plate and printed one or two proofs, hanging them to dry. Later, he completed the composition with a rich layer of pastel.
Nothing could be further from the truth. Russia emerged from the 1990s battered and humiliated; the parallels with Weimar Germany are striking. Goaded on by a triumphalist West, a new Russia has emerged, with a large arsenal of upgraded weapons, conventional and nuclear, determined to reassert its national interests in the ‘near abroad’ – Chechnya, Georgia and Ukraine – as well as fighting a proxy war in the Middle East. Meanwhile, NATO is executing large-scale manoeuvres and stockpiling weaponry close to Russia’s border.
In this provocative new work, Peter Conradi argues that we have consistently failed to understand Russia and its motives, and in doing so, have made a powerful enemy.
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And what happens in such a movement? With Dada, many of the artists declared their own “Pope” and continued their journey (with no destination) into Surrealism, creating burning giraffes, “amoebic” dogs, and lobster telephones – some of the most imaginative and intense works of art of the 20th Century. In Dada & Surrealism For Beginners, you’ll get a colorful overview of these two movements, and develop a sense of the turbulent, wild, and unapologetically mad mood and tone of the Dada and Surrealist movements. Whether you’re an artist, would-be artist, or someone seeking the marvelous, you’ll find the courage and originality of the movements inspiring, and you’ll gain an understanding of their long-term (and current) influences on contemporary art and culture – everything from performance art to pop art to the abandoned train ticket you find in the street.