includes philosophical writings along with a selection of his poems, artworks,
and unpublished pieces from his personal papers.
(1907–1998), the leading figure in the perennialist school of comparative
religious thought, remains one of the most provocative voices on religion.
Bridging the divide between seeker and scholar, Schuon challenges the prevailing
notion that religion should be studied with agnostic neutrality. He speaks to
those who are looking for greater interfaith understanding and a deeper
penetration to the esoteric heart of specific traditions, while turning the
tables on an increasingly noisy chorus of skeptics.
In Splendor of
the True, James S. Cutsinger selects essential writings that reflect the
full range of Schuon’s thought on religion and tradition, metaphysics and
epistemology, human nature and destiny, sacred art and symbolism, and
spirituality and contemplative method. In addition to Schuon’s essays, the book
includes a number of poems, artworks, and previously unpublished materials drawn
from his letters, personal memoirs, and private texts for disciples. An
introductory chapter provides a careful examination of Schuon as perennial
philosopher, Sufi shaykh, and teacher of gnosis.
This new edition contains 60 pages of completely new material, including a fully revised translation from the French original and previously unpublished selections from Schuon’s letters and other private writings. Also included are editor’s notes, a glossary, and an index.
book, which has been called a synthesis of his whole message, Frithjof Schuon
invites us to explore aspects of humankind’s relationship with the Divine,
including our sense of the sacred, the conditions of our existence, the
symbolism of the human body, and the question of accepting or refusing God’s
message. In doing so, Schuon paves the way for a true spiritual engagement. This
revised edition has been fully retranslated and contains valuable editor’s
notes and a glossary, plus a fascinating appendix of previously unpublished
Since these stars appear in our livings rooms on family friendly mainstream shows like Good Morning America, Ellen, and dozens of others—and are loved by virtually all the kids—they couldn’t possibly have anything to do with the infamous Illuminati or anything “satanic,” could they? Some famous musicians have even publicly denounced the Illuminati in interviews or songs.
Illuminati in the Music Industry takes a close look at some of today’s hottest stars and decodes the secret symbols, song lyrics, and separates the facts from the fiction in this fascinating topic. You may never see your favorite musicians the same way ever again. Includes 50 photographs.
Discover why so many artists are promoting the Illuminati as the secret to success.
Why an aspiring rapper in Virginia shot his friend as an “Illuminati sacrifice” hoping it would help him become rich and famous.
How and why the founder of BET Black Entertainment Television became the first African American billionaire.
Why popular female pop stars like Rihanna, Christina Aguilera, Kesha and others are promoting Satanism as cool, something that was once only seen in heavy metal and rock and roll bands.
Some musicians like Korn’s singer Jonathan Davis, rapper MC Hammer, Megadeth’s frontman Dave Mustaine, and others have all denounced the Illuminati and artists promoting them.
Les Claypool, singer of Primus wrote a song about the Bohemian Grove.
Muse singer Matt Bellamy recants his belief that 9/11 was an inside job after getting a taste of mainstream success with his album, The Resistance.
Bono said he attended an Illuminati meeting with other celebrities. Was he joking or serious?
Why rap and hip hop is filled with Illuminati puppets and wannabes more than other genres of music.
Includes detailed profiles on dozens of artists who are suspected of being affiliated with the Illuminati and highlights the handful of musicians who have denounced the secret society and their puppets.
Learn about media effects, the power of celebrity, what the externalization of the hierarchy means and how you can break free from the mental enslavement of mainstream media and music.
By the author of The Illuminati: Facts & Fiction
A Miami Herald Best Book of the Year
In this deeply personal book, the celebrated Haitian-American writer Edwidge Danticat reflects on art and exile.
Inspired by Albert Camus and adapted from her own lectures for Princeton University’s Toni Morrison Lecture Series, here Danticat tells stories of artists who create despite (or because of) the horrors that drove them from their homelands. Combining memoir and essay, these moving and eloquent pieces examine what it means to be an artist from a country in crisis.
BONUS MATERIAL: This edition includes an excerpt from Edwidge Danticat's Claire of the Sea Light.
"Manhattan," he writes, "is the 20th century's Rosetta Stone . . . occupied by architectural mutations (Central Park, the Skyscraper), utopian fragments (Rockefeller Center, the U.N. Building), and irrational phenomena (Radio City Music Hall)." Koolhaas interprets and reinterprets the dynamic relationship between architecture and culture in a number of telling episodes of New York's history, including the imposition of the Manhattan grid, the creation of Coney Island, and the development of the skyscraper. Delirious New York is also packed with intriguing and fun facts and illustrated with witty watercolors and quirky archival drawings, photographs, postcards, and maps. The spirit of this visionary investigation of Manhattan equals the energy of the city itself.
One of the most highly regarded books of its kind, On Photography first appeared in 1977 and is described by its author as "a progress of essays about the meaning and career of photographs." It begins with the famous "In Plato's Cave"essay, then offers five other prose meditations on this topic, and concludes with a fascinating and far-reaching "Brief Anthology of Quotations."
The art market has been booming. Museum attendance is surging. More people than ever call themselves artists. Contemporary art has become a mass entertainment, a luxury good, a job description, and, for some, a kind of alternative religion.
In a series of beautifully paced narratives, Sarah Thornton investigates the drama of a Christie's auction, the workings in Takashi Murakami's studios, the elite at the Basel Art Fair, the eccentricities of Artforum magazine, the competition behind an important art prize, life in a notorious art-school seminar, and the wonderland of the Venice Biennale. She reveals the new dynamics of creativity, taste, status, money, and the search for meaning in life. A judicious and juicy account of the institutions that have the power to shape art history, based on hundreds of interviews with high-profile players, Thornton's entertaining ethnography will change the way you look at contemporary culture.
Examining the work of architectural firms such as OMA, Reiser + Umemoto, and Foreign Office, as well as the art of Matthew Barney, Ai Weiwei, Sherrie Levine, and many others, After Art provides a compelling and original theory of art and architecture in the age of global networks.
Kandinsky's ideas are presented in two parts. The first part, called "About General Aesthetic," issues a call for a spiritual revolution in painting that will let artists express their own inner lives in abstract, non-material terms. Just as musicians do not depend upon the material world for their music, so artists should not have to depend upon the material world for their art. In the second part, "About Painting," Kandinsky discusses the psychology of colors, the language of form and color, and the responsibilities of the artist. An Introduction by the translator, Michael T. H. Sadler, offers additional explanation of Kandinsky's art and theories, while a new Preface by Richard Stratton discusses Kandinsky's career as a whole and the impact of the book. Making the book even more valuable are nine woodcuts by Kandinsky himself that appear at the chapter headings.
This English translation of Über das Geistige in der Kunst was a significant contribution to the understanding of nonobjectivism in art. It continues to be a stimulating and necessary reading experience for every artist, art student, and art patron concerned with the direction of 20th-century painting.
As constructed by John Berger and the renowned Swiss photographer Jean Mohr, that theory includes images as well as words; not only analysis, but anecdote and memoir. Another Way of Telling explores the tension between the photographer and the photographed, between the picture and its viewers, between the filmed moment and the memories that it so resembles. Combining the moral vision of the critic and the pratical engagement of the photgrapher, Berger and Mohr have produced a work that expands the frontiers of criticism first charged by Walter Benjamin, Roland Barthes, and Susan Sontag.
From the Trade Paperback edition.
* Beautifully illustrated with images relating to Ruskin’s life and works
* Concise introductions to the famous art books and other texts
* ALL the art criticism and published prose works, with individual contents tables
* Images of how the books were first printed, giving your eReader a taste of the original texts
* Excellent formatting of the texts
* Famous works such as MODERN PAINTERS and THE STONES OF VENICE are fully illustrated with their original artwork
* The complete poetry is presented in the scholarly Cook and Wedderburn edition
* Special alphabetical contents tables for the poetry - easily locate the poems you want to read
* The complete letters of the FORS CLAVIGERA with footnotes (Cook and Wedderburn), including the famous Whistler pamphlet – first time in digital print
* All the travel books
* Includes Ruskin’s rare autobiography PRAETERITA (Cook and Wedderburn), accompanied with the scarce DILECTA
* Special criticism section, with essays evaluating Ruskin’s contribution to literature and art criticism
* Features a bonus biography - discover Ruskin’s literary life
* Even offers a special illustrated section on Ruskin’s paintings
* Scholarly ordering of texts into chronological order and literary genres
Please visit www.delphiclassics.com to browse through our range of exciting titles
The Art Criticism
THE SEVEN LAMPS OF ARCHITECTURE
GIOTTO AND HIS WORKS IN PADUA
LECTURES ON ARCHITECTURE AND PAINTING DELIVERED AT EDINBURGH IN NOVEMBER, 1853
LETTERS TO THE “TIMES” ON THE TURNER BEQUEST 1856, 1857
NOTES ON THE TURNER GALLERY AT MARLBOROUGH HOUSE
THE ELEMENTS OF DRAWING
A JOY FOR EVER
THE TWO PATHS
THE ELEMENTS OF PERSPECTIVE
SESAME AND LILIES
LECTURES ON ART DELIVERED BEFORE THE UNIVERSITY OF OXFORD IN HILARY TERM, 1870
THE EAGLE’S NEST
THE POETRY OF ARCHITECTURE
NOTES BY MR. RUSKIN ON HIS DRAWINGS BY THE LATE J. M. W. TURNER
THE LAWS OF FÉSOLE
NOTES ON SAMUEL PROUT AND WILLIAM HUNT
CIRCULAR RESPECTING MEMORIAL STUDIES OF ST. MARK’S, VENICE
THE ART OF ENGLAND
THE PLEASURES OF ENGLAND
FINAL LECTURES AT OXFORD
LECTURES ON LANDSCAPE
LECTURES AND NOTES FOR LECTURES ON GREEK ART AND MYTHOLOGY
The Travel Books
THE STONES OF VENICE
MORNINGS IN FLORENCE
ST. MARK’S REST
‘OUR FATHERS HAVE TOLD US’
Other Prose Works
THE KING OF THE GOLDEN RIVER
THE HARBOURS OF ENGLAND
‘UNTO THIS LAST’
THE ETHICS OF THE DUST
THE CROWN OF WILD OLIVE
TIME AND TIDE BY WEARE AND TYNE
LEONI: A LEGEND OF ITALY
THE QUEEN OF THE AIR
ELEMENTS OF ENGLISH PROSODY
ARROWS OF THE CHACE
THE STORM CLOUD OF THE NINETEENTH CENTURY
ON THE OLD ROAD
INTRODUCTION TO RUSKIN’S POETRY by E. T. Cook
THE POEMS: TABLE OF CONTENTS
LIST OF POEMS IN ALPHABETICAL ORDER
RUSKIN by G. K. Chesterton
RUSKIN by Henry Major Tomlinson
RUSKIN AS POET by W. H. Davenport Adams
CONTEMPORARY NOTES ON WHISTLER vs. RUSKIN by Henry James
RUSKIN by Virginia Woolf
THE LIFE OF JOHN RUSKIN by W. G. Collingwood
Please visit www.delphiclassics.com to browse through our range of exciting titles
Fire-breathing beasts have soared in popularity in recent years. With Dragons, the newest addition to our best-selling How to Draw and Paint series, budding artists will find clear, step-by-step instructions for drawing these fanciful creatures. Featuring extraordinary information on the origin and history of dragons from around the world, as well as a wide variety of drawing and shading techniques, this book covers everything readers need to know to render their own versions of these impressive beasts. Dragons differentiates itself from similar books on the market because it features fantasy dragons as well as mythological dragons from around the world.
Photography: The Key Concepts provides an ideal guide to the place of photography in our society and to the extraordinary range of photographic genres. Outlining the history of photography and explaining the body of theory which has built up around its use, the book guides the reader through the genres of documentary, portraiture, landscape, still life, art and global photography. Illustrated with a range of historical and contemporary images and case material, this book is essential reading for anyone interested in photography.
Ben Davis currently lives and works in New York City where he is Executive Editor at Artinfo.
2nd Edition - Completely Revised for the New 2016 Exam
Crash Course is perfect for the time-crunched student, the last-minute studier, or anyone who wants a refresher on the subject.
Are you crunched for time? Have you started studying for your Advanced Placement® Art History exam yet? How will you memorize everything you need to know before the test? Do you wish there was a fast and easy way to study for the exam AND boost your score?
If this sounds like you, don't panic. REA's Crash Course for AP® Art History is just what you need.
Our Crash Course gives you:
Targeted, Focused Review - Study Only What You Need to Know
The Crash Course is based on an in-depth analysis of the new AP® Art History course description outline and actual AP® test questions. It covers only the information tested on the exam, so you can make the most of your valuable study time. Written by an AP® Art History teacher, the targeted review prepares students for the 2016 test by focusing on the new framework concepts and learning objectives tested on the redesigned AP® Art History exam.
Easy-to-read review chapters in outline format cover all the artistic traditions students need to know, including Global Prehistory, Ancient Mediterranean, Europe and the Americas, Asia, Africa, and more. The book also features must-know Art History terms all AP® students should know before test day.
Expert Test-taking Strategies
Our experienced AP® Art History teacher shares detailed question-level strategies and explains the best way to answer the multiple-choice and free-response questions you'll encounter on test day. By following our expert tips and advice, you can boost your overall point score!
FREE Practice Exam
After studying the material in the Crash Course, go to the online REA Study Center and test what you've learned. Our free practice exam features timed testing, detailed explanations of answers, and automatic scoring analysis. The exam is balanced to include every topic and type of question found on the actual AP® exam, so you know you're studying the smart way.
Whether you're cramming for the test at the last minute, looking for extra review, or want to study on your own in preparation for the exams - this is the study guide every AP® Art History student must have.
When it's crucial crunch time and your Advanced Placement® exam is just around the corner, you need REA's Crash Course for AP® Art History!
A deeply Malcolmian volume on painters, photographers, writers, and critics.
Janet Malcolm's In the Freud Archives and The Journalist and the Murderer, as well as her books about Sylvia Plath and Gertrude Stein, are canonical in the realm of nonfiction—as is the title essay of this collection, with its forty-one "false starts," or serial attempts to capture the essence of the painter David Salle, which becomes a dazzling portrait of an artist. Malcolm is "among the most intellectually provocative of authors," writes David Lehman in The Boston Globe, "able to turn epiphanies of perception into explosions of insight."
Here, in Forty-one False Starts, Malcolm brings together essays published over the course of several decades (largely in The New Yorker and The New York Review of Books) that reflect her preoccupation with artists and their work. Her subjects are painters, photographers, writers, and critics. She explores Bloomsbury's obsessive desire to create things visual and literary; the "passionate collaborations" behind Edward Weston's nudes; and the character of the German art photographer Thomas Struth, who is "haunted by the Nazi past," yet whose photographs have "a lightness of spirit." In "The Woman Who Hated Women," Malcolm delves beneath the "onyx surface" of Edith Wharton's fiction, while in "Advanced Placement" she relishes the black comedy of the Gossip Girl novels of Cecily von Zeigesar. In "Salinger's Cigarettes," Malcolm writes that "the pettiness, vulgarity, banality, and vanity that few of us are free of, and thus can tolerate in others, are like ragweed for Salinger's helplessly uncontaminated heroes and heroines." "Over and over," as Ian Frazier writes in his introduction, "she has demonstrated that nonfiction—a book of reporting, an article in a magazine, something we see every day—can rise to the highest level of literature."
One of Publishers Weekly's Best Nonfiction Books of 2013
In his thorough introduction of more than a hundred pages, Michael Howard takes readers through these thought-provoking chapters: Is Art Dead? To Muse or Amuse Artistic Activity As Spiritual Activity The Representative of Humanity Beauty, Creativity, and Metamorphosis New Directions in Art Lectures include: The Aesthetics of Goethe's Worldview The Spiritual Being of Art Buildings Will Speak The Sense Organs and Aesthetic Experience The Two Sources of Art The Building at Dornach The Supersensible Origin of the Arts Truth, Beauty, and Goodness Christ, Ahriman, and Lucifer Plus a bibliography and index
In essays such as “The ism that dare not speak its name,” “Generation 2.5,” “Like a Veneer,” “Modest Painting,” “Blurring Richter,” and “Trite Tropes, Clichés, or the Persistence of Styles,” Schor considers how artists relate to and represent the past and how the art market influences their choices: whether or not to disavow a social movement, to explicitly compare their work to that of a canonical artist, or to take up an exhausted style. She places her writings in the rich transitory space between the near past and the “nextmodern.” Witty, brave, rigorous, and heartfelt, Schor’s essays are impassioned reflections on art, politics, and criticism.
Chromophobia has been a cultural phenomenon since ancient Greek times; this book is concerned with forms of resistance to it. Writers have tended to look no further than the end of the nineteenth century. David Batchelor seeks to go beyond the limits of earlier studies, analyzing the motivations behind chromophobia and considering the work of writers and artists who have been prepared to look at color as a positive value. Exploring a wide range of imagery including Melville's "great white whale", Huxley's reflections on mescaline, and Le Corbusier's "journey to the East", Batchelor also discusses the use of color in Pop, Minimal, and more recent art.
As art critic for Time magazine, internationally acclaimed for his study of modern art, The Shock of the New, he is perhaps America’s most widely read and admired writer on art. In this book: nearly a hundred of his finest essays on the subject.
For the realism of Thomas Eakins to the Soviet satirists Komar and Melamid, from Watteau to Willem de Kooning to Susan Rothenberg, here is Hughes—astute, vivid and uninhibited—on dozens of famous and not-so-famous artists. He observes that Caravaggio was “one of the hinges of art history; there was art before him and art after him, and they were not the same”; he remarks that Julian Schnabel’s “work is to painting what Stallone’s is to acting”; he calls John Constable’s Wivenhoe Park “almost the last word on Eden-as-Property”; he notes how “distorted traces of [Jackson] Pollock lie like genes in art-world careers that, one might have thought, had nothing to do with his.” He knows how Norman Rockwell made a chicken stand still long enough to be painted, and what Degas said about success (some kinds are indistinguishable from panic).
Phrasemaker par excellence, Hughes is at the same time an incisive and profound critic, not only of particular artists, but also of the social context in which art exists and is traded. His fresh perceptions of such figures as Andy Warhol and the French writer Jean Baudrillard are matched in brilliance by his pungent discussions of the art market—its inflated prices and reputations, its damage to the public domain of culture. There is a superb essay on Bernard Berenson, and another on the strange, tangled case of the Mark Rothko estate. And as a finale, Hughes gives us “The SoHoiad,” the mock-epic satire that so amused and annoyed the art world in the mid-1980s.
A meteor of a book that enlightens, startles, stimulates and entertains.
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.
• I am not able to control myself to articulate you about this amazing, rare discovery of yourself our self.
• “The Secrets Of You” is a self-awakening guide to reveal your hidden powers to achieve health, wealth, peace, relationship and much more.
• Through this book I want you to reveal your secret and to be familiar with your secret.
• I want you to understand the elements of universe, law of attraction, manifestation, and vibration which highly impact in our life.
• In my guide you will learn how to make universe work for you. You will be familiar with your attraction power. You will be mesmerized with your manifestation knack. You will learn how to command your wish and receive it by being in vibrational mode.
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This revised and greatly expanded edition not only adduces new visual evidence, but deepens the theological argument and engages the controversy aroused by the book's first publication.
As Julian Barnes notes: “Flaubert believed that it was impossible to explain one art form in terms of another, and that great paintings required no words of explanation. Braque thought the ideal state would be reached when we said nothing at all in front of a painting . . . But it is a rare picture that stuns, or argues, us into silence. And if one does, it is only a short time before we want to explain and understand the very silence into which we have been plunged.”
This is the exact dynamic that informs his new book. In his 1989 novel A History of the World in 10½ Chapters, Barnes had a chapter on Géricault’s The Raft of the Medusa, and since then he has written about many great masters of nineteenth- and twentieth-century art, including Delacroix, Manet, Fantin-Latour, Cézanne, Degas, Redon, Bonnard, Vuillard, Vallotton, Braque, Magritte, Oldenburg, Lucian Freud and Howard Hodgkin. The seventeen essays gathered here help trace the arc from Romanticism to Realism and into Modernism; they are adroit, insightful and, above all, a true pleasure to read.
From the Hardcover edition.
A unique anthology of 35 feminist art manifestos by contemporary women artists from around the world (1969-2013) introduced by Katy Deepwell. These feminist art manifestos written at different moments over the last forty years explore the potential of women's cultural production as visual artists. Manifestos occupy a specific place in the visual arts, as a means to communicate radical ideas. These texts outline a critique of patriarchy and utopian hopes for the future.
CONTENT: KATY DEEPWELL – NEGOTIATIONS (an introduction); MIERLE LADERMAN UKELES - MANIFESTO FOR MAINTENANCE ART 1969!; AGNES DENES - A MANIFESTO (1969); MICHELE WALLACE - MANIFESTO OF WSABAL (1970); NANCY SPERO - FEMINIST MANIFESTO (1970-1971); MONICA SJOO AND ANNE BERG - IMAGES ON WOMANPOWER - ARTS MANIFESTO (1971); RITA MAE BROWN - A MANIFESTO FOR THE FEMINIST ARTIST (1972); VALIE EXPORT - WOMEN'S ART: A MANIFESTO (1972); FEMINIST FILM AND VIDEO ORGANIZATIONS - WOMANIFESTO (1975); KLONARIS / THOMADAKI - MANIFESTE POUR UNE FÉMINITÉ RADICALE POUR UN CINÉMA AUTRE (1977);CAROLEE SCHNEEMANN - WOMEN IN THE YEAR 2000 (1977); Z.BUDAPEST, U.ROSENBACH, S.B.A.COVEN - FIRST MANIFESTO ON THE CULTURAL REVOLUTION OF WOMEN (1978); EWA PARTUM - CHANGE, MY PROBLEM IS A PROBLEM OF A WOMAN (1979); WOMEN ARTISTS OF PAKISTAN MANIFESTO (1983); CHILA BURMAN - THERE HAVE ALWAYS BEEN GREAT BLACKWOMEN ARTISTS (1986); EVA AND CO - THE MANIFESTO (1992); VNS MATRIX - BITCH MUTANT MANIFESTO (1994); VIOLETTA LIAGATCHEV - CONSTITUTION INTEMPESTIVE DE LA RÉPUBLIQUE INTERNATIONALE DES ARTISTES FEMMES (1995); OLD BOYS NETWORK - 100 ANTI-THESES (1997); LILY BEA MOOR (aka SENGA NENGUDI) - LILIES OF THE VALLEY UNITE! OR NOT (1998); DORA GARCIA - 100 IMPOSSIBLE ARTWORKS (2001); SUBROSA - REFUGIA: MANIFESTO FOR BECOMING AUTONOMOUS ZONES (BAZ)(2002); ORLAN - CARNAL ART MANIFESTO (2002); RHANI LEE REMEDES - THE SCUB MANIFESTO (2002); FACTORY OF FOUND CLOTHES - MANIFESTO (2002); FEMINIST ART ACTION BRIGADE - MANIFESTO (2003); METTE INGVARTSEN - YES MANIFESTO (2004); XABIER ARAKISTAIN - ARCO MANIFESTO (2005); YES! ASSOCIATION/FÖRENINGEN JA! - JÄMLIKHETSAVTAL #1(THE EQUAL OPPORTUNITIES AGREEMENT #1) (2005); ARAHMAIANI - LETTER TO MARINETTI and MANIFESTO OF THE SCEPTICS (2009); GUERRILLA GIRLS - GUIDE TO BEHAVING BADLY (2010); JULIE PERINI - RELATIONAL FILMMAKING MANIFESTO (2010); ELIZABETH M. STEPHENS AND ANNIE M. SPRINKLE - ECOSEX MANIFESTO (2011); LUCIA TKACOVA and ANETTA MONA CHISA - 80:20; SILVIA ZIRANEK - MANIFESTA (2013); MARTINE SYMS - MUNDANE AFROFUTURIST MANIFESTO (2013)
Ai Weiwei - artist, architect, curator, publisher, poet and urbanist - extended the notion of art and is one of the world's most significant creative and cultural figures. In this series of interviews, conducted over several years with the curator Hans Ulrich Obrist, he discusses the many dimensions of his artistic life, ranging over subjects including ceramics, blogging, nature, philosophy and the myriad influences that have fed into his work. He also talks candidly about his father, his childhood spent in exile and his criticism of the Chinese state.
Together, these extraordinary discussions give a unique insight into the outstanding complexity of Ai Weiwei's thought and work, and are an essential reminder of the need for personal, political and artistic freedom.