Bayeux Cathedral
The Ancient City by
In this superbly illustrated volume, Athens and Rome, the two greatest cities of antiquity, spring to life through the masterful pen of Peter Connolly. For the first time ever, all the evidence has been painstakingly pieced together to reconstruct the architectural wonders of these mighty civilizations. By re-creating their public buildings, their temples, shops, and houses, Connolly reveals every aspect of a person's life in glorious detail, including religion, food, drama, games, and the baths.
The first part of The Ancient City covers the development of Athens in the hundred years following the Persian Wars, which began in the 4th century B.C. These chapters encompass the Golden Years of Athens; the establishment of democracy; the building of the Parthenon, the Erechtheum, and the municipal buildings of the Agora; a typical Athenian workday; and the construction of the Long Walls.
Part II examines the development of Rome in the hundred years from Nero (emperor of Rome from A.D. 54 to 68) to Hadrian (emperor of Rome from A.D. 117 to 138)--the great building period of Rome. Visit Nero's Golden Palace and the buildings subsequently built over it, the Colosseum, the Flavian Palace, the Baths of Trajan, the Temple of Venus and Roma, as well as other buildings such as the Circus Maximus, the Theatre of Marcellus, and Trajan's Forum and Market.
In addition to reading about the great monuments and moments of classical Greece and Rome, readers learn about a typical day in the life of an Athenian and a Roman. They read about--and see--the houses people inhabited; attend 5-day festivals and go to the theatre; fight great battles and witness the birth of Rome's navy; visit temples and spend a day at the races. The fascinating artwork and vivid descriptions provide a window into the great history of these two extraordinary cities and civilizations.
The Ancient City is the crowning achievement of Peter Connolly's distinguished career. His illustrations and reconstructions have a unique authority, providing the starting point for a fascinating exploration of these cities and the lives of the people who inhabited them.
The Annotated Mona Lisa, Third Edition by
An illustrated tutorial of prehistoric to contemporary world art, from cave paintings to video art installations to digital and Internet media in an easy-to-understand format.
Art by
Within each time period, provides examples of significant works in painting, sculpture, drawing and other media. Highlights themes that were important at various times such as nudes, landscape, still life, and love. Includes brief biographies of some artists and a "closer look" in depth for the most significant works.
Art History by
Art History: The Basics is a concise and accessible introduction for the general reader and the undergraduate approaching the history of art for the first time at college or university. It will give you answers to questions like: What is art and art history? What are the main methodologies used to understand art? How have ideas about form, sex and gender shaped representation? What connects art with psychoanalysis, semiotics and Marxism? How are globalization and postmodernism changing art and art history? Each chapter introduces key ideas, issues and debates in art history, including information on relevant websites and image archives. Fully illustrated with an international range of artistic examples, Art History: The Basics also includes helpful subject summaries, further ideas for reading in each chapter, and a useful glossary for easy reference.
The Art of Rivalry: Four Friendships, Betrayals, and Breakthroughs in Modern Art by
Picasso & Matisse. Manet & Degas. Pollack & de Kooning. Lucian Freud & Francis Bacon. This is the story of four pairs of artists-- each linked by friendship and a spirit of competitiveness. Taken together, they form an impressive lineage stretching across more than 150 years. But in each case, these relationships had a flashpoint, a damaging psychological event that seemed to mark both an end and a new beginning, a break that led onto new creative innovations.
Art of the Ancient World by Art of the Ancient World: painting, pottery, sculpture, architecture from Egypt, Mesopotamia, Crete, Greece, and Rome by 
ArtSpeak by
An indispensable guide for art-world neophytes and seasoned professionals alike, the best-selling ArtSpeak returns in a revised and expanded third edition, illustrated in full color. Nearly 150 alphabetical entries--30 of them new to this edition--explain the who, what, where, and when of postwar and contemporary art. These concise mini-essays on the key terms of the art world are written with wit and common sense by veteran critic Robert Atkins. More than eighty images, most in color, illustrate key works of the art movements discussed, making ArtSpeak a visual reference, as well as a textual one. A timeline traces world and art-world events from 1945 to the present day, and a single-page ArtChart provides a handy overview of the major art movements in that period.
The Books That Shaped Art History by
Written by some of today's leading art historians and curators, this new collection provides an invaluable road map of the field by comparing and reexamining canonical works of art history. From Émile Mâle's magisterial study of thirteenth-century French art, first published in 1898, to Hans Belting's provocative Likeness and Presence: A History of the Image before the Era of Art, the book provides a concise and insightful overview of the history of art, told through its most enduring literature. Each of the essays looks at the impact of a single major book of art history, mapping the intellectual development of the writer under review, setting out the premises and argument of the book, considering its position within the broader field of art history, and analyzing its significance in the context of both its initial reception and its afterlife. An introduction by John-Paul Stonard explores how art history has been forged by outstanding contributions to scholarship, and by the dialogues and ruptures between them.
Daily Rituals by
Franz Kafka, frustrated with his living quarters and day job, wrote in a letter to Felice Bauer in 1912, "time is short, my strength is limited, the office is a horror, the apartment is noisy, and if a pleasant, straightforward life is not possible then one must try to wriggle through by subtle maneuvers."
Kafka is one of 161 inspired--and inspiring--minds, among them, novelists, poets, playwrights, painters, philosophers, scientists, and mathematicians, who describe how they subtly maneuver the many (self-inflicted) obstacles and (self-imposed) daily rituals to get done the work they love to do, whether by waking early or staying up late; whether by self-medicating with doughnuts or bathing, drinking vast quantities of coffee, or taking long daily walks. Thomas Wolfe wrote standing up in the kitchen, the top of the refrigerator as his desk, dreamily fondling his "male configurations". . . Jean-Paul Sartre chewed on Corydrane tablets (a mix of amphetamine and aspirin), ingesting ten times the recommended dose each day . . . Descartes liked to linger in bed, his mind wandering in sleep through woods, gardens, and enchanted palaces where he experienced "every pleasure imaginable."
Here are: Anthony Trollope, who demanded of himself that each morning he write three thousand words (250 words every fifteen minutes for three hours) before going off to his job at the postal service, which he kept for thirty-three years during the writing of more than two dozen books . . . Karl Marx . . . Woody Allen . . . Agatha Christie . . . George Balanchine, who did most of his work while ironing . . . Leo Tolstoy . . . Charles Dickens . . . Pablo Picasso . . . George Gershwin, who, said his brother Ira, worked for twelve hours a day from late morning to midnight, composing at the piano in pajamas, bathrobe, and slippers . . .
Here also are the daily rituals of Charles Darwin, Andy Warhol, John Updike, Twyla Tharp, Benjamin Franklin, William Faulkner, Jane Austen, Anne Rice, and Igor Stravinsky (he was never able to compose unless he was sure no one could hear him and, when blocked, stood on his head to "clear the brain").
Brilliantly compiled and edited, and filled with detail and anecdote, Daily Rituals is irresistible, addictive, magically inspiring.
Encyclopedia of Greek and Roman Mythology by
Greek and Roman mythology has fascinated people for thousands of years, and its influence on cultures throughout Europe, America, North Africa, the Middle East, and elsewhere attests to the universal appeal of its stories.
Encyclopedia of Greek and Roman Mythology examines the best-known figures of Greek and Roman mythology together with the great works of classical literature that are the sources for our mythological understanding. In 365 A-to-Z entries, this encyclopedia presents ancient mythology from a literary perspective and features numerous illustrations from both ancient and modern works of fine art to show how myths have been transmitted in visual form through the ages.
The Encyclopedia of Sculpture by
For a full list of entries and contributors, a generous selection of sample entries, and more, visit the Encyclopediaof Sculpturewebsite.
With an international scope, this fully illustrated reference spans the entire history of sculpture, from prehistoric times to the twenty-first century. While devoting significant attention to individual artists and their works, the Encyclopediaalso explores sculpture from the vantage points of history, criticism, theory, aesthetics, production, training, and presentation, making this the most comprehensive, in-depth source on the subject ever published.
Famous Works of Art by
In a world filled with great museums and great paintings, Leonardo da Vinci's Mona Lisa is the reigning queen. Her portrait rules over a carefully designed salon, one that was made especially for her in a museum that may seem intended for no other purpose than to showcase her virtues. What has made this portrait so renowned, commanding such adoration? And what of other works of art that continue to enthrall spectators: What makes the Great Sphinx so great? Why do iterations of The Scream and American Gothic permeate nearly all aspects of popular culture? Is it because of the mastery of the artists who created them? Or can something else account for their popularity? In Famous Works of Art--And How They Got That Way, John B. Nici looks at twenty well-known paintings, sculptures, and photographs that have left lasting impressions on the general public. As Nici notes, there are many reasons why works of art become famous; few have anything to do with quality. The author explains why the reputations of some creations have grown over the years, some disproportionate to their artistic value. Written in a style that is both entertaining and informative, this book explains how fame is achieved, and ultimately how a work either retains that fame, or passes from the public consciousness. From ancient artifacts to a can of soup, this book raises the question: Did the talent to promote and publicize a work exceed the skills employed to create that object of worship? Or are some masterpieces truly worth the admiration they receive? The creations covered in this book include the Tomb of Tutankhamun, Botticelli's Birth of Venus, Raphael's Sistine Madonna, El Greco's The Burial of Count Orgaz, Rodin's The Thinker, Van Gogh's Starry Night, and Picasso's Guernica. Featuring more than sixty images, including color reproductions, Famous Works of Art--And How They Got That Way will appeal to anyone who has ever wondered if a great painting, sculpture, or photograph, really deserves to be called "great."
The Forger's Spell: a true story of Vermeer, Nazis, and the greatest art hoax of the twentieth century by
As riveting as a World War II thriller, The Forger's Spell is the true story of Johannes Vermeer and the small-time Dutch painter who dared to impersonate him centuries later. The con man's mark was Hermann Goering, one of the most reviled leaders of Nazi Germany and a fanatic collector of art.
It was an almost perfect crime. For seven years a no-account painter named Han van Meegeren managed to pass off his paintings as those of one of the most beloved and admired artists who ever lived. But, as Edward Dolnick reveals, the reason for the forger's success was not his artistic skill. Van Meegeren was a mediocre artist. His true genius lay in psychological manipulation, and he came within inches of fooling both the Nazis and the world. Instead, he landed in an Amsterdam court on trial for his life.
ARTnews called Dolnick's previous book, the Edgar Award-winning The Rescue Artist, "the best book ever written on art crime." In The Forger's Spell, the stage is bigger, the stakes are higher, and the villains are blacker.
Glittering Images by
America's premier intellectual provocateur returns to the subject that brought her fame, the great themes of Western art. Passionately argued, brilliantly written, and filled with Paglia's trademark audacity, Glittering Images takes us on a tour through more than two dozen seminal images, some famous and some obscure or unknown--paintings, sculptures, architectural styles, performance pieces, and digital art that have defined and transformed our visual world. She combines close analysis with background information that situates each artist and image within its historical context--from the stone idols of the Cyclades to an elegant French rococo interior to Jackson Pollock's abstract Green Silver to Renée Cox's daring performance piece Chillin' with Liberty. And in a stunning conclusion, she declares that the avant-garde tradition is dead and that digital pioneer George Lucas is the world's greatest living artist. Written with energy, erudition, and wit, Glittering Images is destined to change the way we think about our high-tech visual environment.
The Grove Dictionary of Art by
Boasting well over 6,000 contributors from 12 countries, the Dictionary offers its readers authoritative and comprehensive global coverage.
A resource for both art and cultural studies, the Dictionary serves as a unique guide to all the visual arts: painting, sculpture, architecture, photography, drawing, printmaking, as well as the decorative arts. The Dictionary ranges far both geographically and historically; it features unparalleled coverage of Africa, Southeast Asia, Central Asia and Mongolia, China, India, the Islamic world, Japan, Korea, Native North America, Pacific and Aboriginal Australia, Pre-Columbian America, Ancient Egypt, Ancient Greece, the Ancient Near East, and Ancient Rome. Providing depth as well as breadth, The Dictionary of Art examines important art forms and key issues of design, taste, function, and patronage, illuminating them in light of the cultural context in which they developed.
A Handbook of Ancient Religions by
Ancient civilisations exercise an intense fascination for people the world over. This Handbook provides a vivid, scholarly, and eminently readable account of ancient cultures around the world, from China to India, the Middle East, Egypt, Europe, and the Americas. It examines the development of religious belief from the time of the Palaeolithic cave paintings to the Aztecs and Incas. Covering the whole of society not just the elite, the Handbook outlines the history of the different societies so that their religion and culture can be understood in context. Each chapter includes discussion of the broad field of relevant studies alerting the reader to wider debates on each subject. An international team of scholars convey their own deep enthusiasm for their subject and provide a unique study of both popular and'official'religion in the ancient world.
History of Art by
Features a discussion of major art movements, trends, and periods along with biographical information on key artists and their work.
History of water color painting in America by 
How Art Made the World by
In the late nineteenth century, the first discoveries of prehistoric painting were greeted with incredulity. How could there have been such deft and skillful artists in the world over 30,000 years ago? Noted art historian Nigel Spivey begins with this puzzle to explore the record of humanity's artistic endeavors, and their impact on our own development. How Art Made the World , in conjunction with the PBS miniseries, reveals how artists from the earliest caveman to the most studied Renaissance master have grappled with the same questions in their work: What is a man? Why must we die? Is there a God? With the help of vivid color illustrations of some of the world's most moving and enduring works of art, Spivey shows how that art has been used as a means of mass persuasion, essential to the creation of hierarchical societies, and finally, the extent to which art has served as a mode of terror management in the face of our inevitable death. Packed with new insights into ancient wonders and fascinating stories from all around the globe, How Art Made the World is a compelling account of how humans made art and how art makes us human.
The Mind of the Artist by
Get a fascinating glimpse into the creative process with this inquiry into what makes artists'tick.'The Mind of the Artist, by famed British poet, critic, and art scholar Laurence Binyon, presents a series of interview excerpts, quotes, and sayings from a broad cross-section of well-known sculptors and painters. Whether you're an aspiring hobbyist with barely formed creative aspirations or a serious artist, this collection will serve as a wonderful source of inspiration.
National Gallery Collection: 2300 high definition images with metadata by
High definition images with metadata from the National Gallery, London.
The Power of Art by
"Great art has dreadful manners," Simon Schama observes wryly at the start of his epic and explosive exploration of the power, and whole point, of art. "The hushed reverence of the gallery can fool you into believing masterpieces are polite things; visions that soothe, charm and beguile, but actually they are thugs. Merciless and wily, the greatest paintings grab you in a headlock, rough up your composure, and then proceed in short order to re-arrange your sense of reality. . . ."
With the same disarming force, The Power of Art propels us on an eye-opening, breathtaking odyssey, zooming in on eight extraordinary masterpieces, from Caravaggio's David and Goliath to Picasso's Guernica. Jolting us far from the comfort zone of the hushed art gallery, Schama closes in on intense make-or-break turning points in the lives of eight great artists who, under extreme stress, created something unprecedented, altering the course of art forever.
The embattled heroes--Caravaggio, Bernini, Rembrandt, David, Turner, Van Gogh, Picasso and Rothko--each in his own resolute way, faced crisis with steadfast defiance, pitting passion and conviction against scorn and short-sightedness. The masterpieces they created challenged convention, shattered complacency, shifted awareness and changed the way we look at the world.
With vivid storytelling and powerfully evocative descriptive passages, Schama explores the dynamic personalities of the artists and the spirit of the times they lived through, capturing the flamboyant theatre of bourgeois life in Amsterdam, the passion and paranoia of Revolutionary Paris, and the carnage and pathos of Civil War Spain.
Most compelling of all, The Power of Art traces the extraordinary evolution of eight "eye-popping" world-class works of art. Created in a bolt of illumination, such works "tell us something about how the world is, how it is to be inside our skins, that no more prosaic source of wisdom can deliver. And when they do that, they answer, irrefutably and majestically, the nagging question of every reluctant art-conscript . . . 'OK, OK, but what's art really for?'"
Provenance: how a con man and a forger rewrote the history of modern art by
The extraordinary narrative of one of the most far-reaching and elaborate deceptions in art history. Investigative reporters Laney Salisbury and Aly Sujo brilliantly recount the tale of a great con man and unforgettable villain, John Drewe, and his sometimes unwitting accomplices. His story stretches from London to Paris to New York, from Manhattan art galleries to the archives of the Tate Gallery. Provenance reads like a well-plotted thriller, filled with unforgettable characters and told at a break-neck pace.
Pulled: A Catalog of Screen Printing by
Popularized in the 1960s by Pop artists such as Andy Warhol, screen printing remains a favorite of artists due to its remarkable versatility and relatively low cost. In Pulled, best-selling author Mike Perry (Hand Job, Over and Over) collects the work of more than forty of today's most talented designers who are, in their own way, pushing the boundaries of this dynamic medium.
Stolen, Smuggled, Sold by
Stolen, Smuggled Sold: On the Hunt for Cultural Treasures tells the dark and compelling stories of iconic cultural objects that were stolen, smuggled or sold, and eventually returned back to their original owner. There are many books about museum heists, Holocaust artwork, insider theft, trafficking in antiquities, and stolen Native American objects. Now, there's finally a book for the general public that covers the entire terrain. The book includes full-color photos of the objects. Stolen, Smuggled, Sold features seven vivid and true stories in which the reader joins the author as she uncovers a cultural treasure and follows its often-convoluted trail. Along the way author and reader encounter a cast of fascinating characters from the underbelly of the cultural world: unscrupulous grave robbers, sinister middlemen, ruthless art dealers, venal Nazis, canny lawyers, valiant academics, unstoppable investigative reporters, unwitting curators, and dedicated government officials. Stories include Gustav Klimt's Portrait of Adele Bloch Bauer 1, the typset manuscript for Pearl Buck's The Good Earth, a ceremonial Ghost Dance short from the massacre at Wounded Knee, the theft of 4,800 historical audio discs by a top official at the National Archives, a missing original copy of The Bill of Rights, the mummy of Ramses I, and an ancient treasure from Iraq. While each story is fascinating in and of itself, together they address one of the hottest issues in the museum world: how to deal with the millions of items that have breaks in the chain of ownership, suspicious ownership records, or no provenance at all. The issue of ownership touches on professional practices, international protocols, and national laws. It's a financial issue since the illicit trade in antiquities and cultural items generates as much as $4 billion to $8 billion a year.
A to Z of Ancient Greek and Roman Women by
Providing a vibrant new perspective on women in the classical world, A to Z of Ancient Greek and Roman Women, Revised Edition includes more than 500 fascinating life stories ranging from pagan Greece in the seventh century BCE to the rise of Christianity in the fourth century CE. Included in this accessible and user-friendly dictionary are tales from all corners of the Greek and Roman worlds—from Britain and Egypt to Syria and Mauritania. The authors of this invaluable reference guide have created multidimensional and intriguing biographies of women from all walks of life—poets and poisoners, wives and mistresses, businesswomen and slaves, rulers and victims—all noted for their accomplishments as well as their family ties.
What Art Is by
"What is it to be a work of art? Renowned author and critic Arthur C. Danto addresses this fundamental, complex question. Part philosophical monograph and part memoiristic meditation, What Art Is challenges the popular interpretation that art is an indefinable concept, instead bringing to light the properties that constitute universal meaning. Danto argues that despite varied approaches, a work of art is always defined by two essential criteria: meaning and embodiment, as well as one additional criterion contributed by the viewer: interpretation. Danto crafts his argument in an accessible manner that engages with both philosophy and art across genres and eras, beginning with Plato's definition of art in The Republic, and continuing through the progress of art as a series of discoveries, including such innovations as perspective, chiaroscuro, and physiognomy. Danto concludes with a fascinating discussion of Andy Warhol's famous shipping cartons, which are visually indistinguishable from the everyday objects they represent. Throughout, Danto considers the contributions of philosophers including Descartes, Kant, and Hegel, and artists from Michelangelo and Poussin to Duchamp and Warhol, in this far-reaching examination of the interconnectivity and universality of aesthetic production."
The Writer's Brush: an exhibition of artwork by writers by
"Donald Friedman's internationally acclaimed book, The Writer's Brush: Paintings, Drawings, and Sculpture by Writers, brought together in one collection the visual art of more than 200 of the world's great writers. To celebrate its publication, he organized a modest exhibition of writer-art which, after enlisting rare bookseller and art dealer John Wronoski for help, was enlarged to include dozens of poets and writers somehow omitted from the book, and became a museum-scale show. The catalogue documents that historic exhibition. It opened at Anita Shapolsky Gallery in New York. [...] 264 pieces of art by 139 poets and writers were displayed , making it the most extensive show of writer-art ever mounted." --From dust jacket.
The Year One by
After an introduction on the interconnections of the ancient world, four sections cover the world geographically: the Mediterranean and Roman Empire, West and Central Asia, Asia, and the Americas. Each section begins with a map and follows with color plates of 150 works, each accompanied by explanatory text. Celts excelled in intricate metalwork; Egyptians melded Greco-Roman and Egyptian styles; peoples east of the Mediterranean produced a wide range of sculpture, ceramics, and precious metal objects; and in what is now Afghanistan, Pakistan, and northern India, Buddhist art was incorporated with Greco-Roman influences. In East Asia, China's empire under the Han Dynasty created artifacts in every medium, and seminomads in northern China fabricated metalwork often to adorn horses. In cultures of the Pacific in South and Mesoamerica, objects were made from stone, ceramic, and gold. Most objects are in the collection of Metropolitan Museum of Art whose employees put this book together. Annotation c. Book News, Inc., Portland, OR (booknews.com)
Women of Abstract Expressionism by
Foreword / Christoph Heinrich -- Acknowledgments / Gwen F. Chanzit, Joan Marter -- Introduction to the exhibition / Gwen F. Chanzit -- Missing in action : abstract expressionist women / Joan Marter -- "Biographies and bodies" : self and other in portraits by Elaine and Bill De Kooning / Ellen G. Landau -- The advantages of obscurity : women abstract expressionists in San Francisco / Susan Landauer -- Krasner, Mitchell, and Frankenthaler : nature as metonym / Robert Hobbs -- An interview with Irving Sandler / Joan Marter -- Catalogue of the exhibition -- Lenders to the exhibition -- Chronology / Jesse Laird Ortega -- Selected biographies / Aliza Edelman.
Art Deco by
Art Deco style was established on the ashes of a disappeared world, the one from before the First World War, and on the foundation stone of a world yet to become, opened to the most undisclosed promises. Forgetting herself in the whirl of Jazz Age and the euphoria of the “Années Folles”, the Garçonne with her linear shape reflects the architectural style of Art Deco: to the rounded curves succeed the simple and plain androgynous straight line… Architecture, painting, furniture and sculpture, dissected by the author, proclaim the druthers for sharp lines and broken angles. Although ephemeral, this movement keeps on influencing contemporary design.
A Companion to British Art by
This companion is a collection of newly-commissioned essays written by leading scholars in the field, providing a comprehensive introduction to British art history. A generously-illustrated collection of newly-commissioned essays which provides a comprehensive introduction to the history of British art Combines original research with a survey of existing scholarship and the state of the field Touches on the whole of the history of British art, from 800-2000, with increasing attention paid to the periods after 1500 Provides the first comprehensive introduction to British art of the eighteenth, nineteenth, and twentieth centuries, one of the most lively and innovative areas of art-historical study Presents in depth the major preoccupations that have emerged from recent scholarship, including aesthetics, gender, British art's relationship to Modernity, nationhood and nationality, and the institutions of the British art world
A Monumental Vision: the sculpture of Henry Moore by
The impact of this lovingly prepared book is startling: narration and visuals combine to allow, seemingly, a walk around the artist as well as his work, and an experience of their fundamental power. Published to celebrate the 100th anniversary of Moore's birth in 1898, the volume is both personal and authoritative. In the first section, photographer Hedgecoe, friends with Moore for 35 years, presents personal reminiscences, quotes from Moore, and an incisive photographic essay highlighting some of the sources of Moore's vision. Following is a display of many of Moore's major works, interspersed with pages from the artist's personal sketchbooks. The final section comprises a chronologically arranged compendium of 750-plus photographs of Moore's sculptures, each accompanied by dates and dimensions. Annotation c. by Book News, Inc., Portland, Or.
The Group of Seven and Tom Thomson by
"Silcox [is] a wonderfully lucid stylist . . . this definitive volume presents 400 supreme color reproductions . . . covering the entire spectrum of the proficient and prolific group's magnificent output . . . every painting is vibrantly, radiantly, and gloriously alive: a veritable hymn to life."
-- Booklist
At a critical time in Canada's history, the Group of Seven revolutionized the country's appreciation of itself by celebrating Canada as a wild and beautiful land. These paintings of the wilderness evoke the same response in viewers today as they did when first exhibited.
Now in paperback, The Group of Seven and Tom Thomson is even more affordable than the celebrated original hardcover edition. This award-winning bestseller includes many never-before reproduced paintings and presents the most complete and extensive collection of these artists' works ever published. The 400 paintings and drawings reveal the remarkable genius of all 10 painters who, at some point, were part of the movement. Tom Thomson, who died before the Group was established, was always present in the public mind.
Included are works by:
Frank Carmichael Frank Johnston A.J. Casson Arthur Lismer Le Moine FitzGerald J.E.H. MacDonald Lawren Harris Tom Thomson Edwin Holgate F.H. Varley A.Y. Jackson.
The artwork is organized by the various regions of Canada, with additional sections on the war years and still-life paintings. Introductory essays provide a context for a greater understanding and appreciation of Canada's most celebrated artists.
Fauves by
Born at the dawn of the 20th century, Fauvism burst onto the artistic scene at the 1905 Salon d'Automne with great controversy by throwing bright, vibrant colours in the face of artistic convention. Fuelled by change, artists like Matisse, Derain, and Vlaminck searched for a new chromatic language by using colour out of its habitual context. Freed from the strict technique advocated by the École des Beaux-Arts, they used blocky colours as their main resource, saturating their stunning paintings. The author invites us to experience this vivid artistic evolution that, although encompassing a short amount of time, left its mark on the path to modernity.
Auguste Rodin by
Influenced by the masters of Antiquity, the genius of Michelangelo and Baroque sculpture, particularly of Bernini, Auguste Rodin (1840-1917) is one of the most renowned artists in history. Though Rodin is considered a founder of modern sculpture, he did not set out to critique past classical traditions. Many of his sculptures were criticised and considered controversial because of their sensuality or hyperrealist qualities. His most original works departed from traditional themes of mythology and allegory, and embraced the human body, celebrating individualism and physicality. This book uncovers the life and career of this highly acclaimed artist by exploring his most famous works of art, such as the Gates of Hell, The Thinker and the infamous The Kiss.
Claude Monet by
For Claude Monet the designation ‘impressionist’ always remained a source of pride. In spite of all the things critics have written about his work, Monet continued to be a true impressionist to the end of his very long life. He was so by deep conviction, and for his Impressionism he may have sacrificed many other opportunities that his enormous talent held out to him. Monet did not paint classical compositions with figures, and he did not become a portraitist, although his professional training included those skills. He chose a single genre for himself, landscape painting, and in that he achieved a degree of perfection none of his contemporaries managed to attain. Yet the little boy began by drawing caricatures. Boudin advised Monet to stop doing caricatures and to take up landscapes instead. The sea, the sky, animals, people, and trees are beautiful in the exact state in which nature created them – surrounded by air and light. Indeed, it was Boudin who passed on to Monet his conviction of the importance of working in the open air, which Monet would in turn transmit to his impressionist friends. Monet did not want to enrol at the Ecole des Beaux-Arts. He chose to attend a private school, L’Académie Suisse, established by an ex-model on the Quai d’Orfèvres near the Pont Saint-Michel. One could draw and paint from a live model there for a modest fee. This was where Monet met the future impressionist Camille Pissarro. Later in Gleyre’s studio, Monet met Auguste Renoir Alfred Sisley, and Frédéric Bazille. Monet considered it very important that Boudin be introduced to his new friends. He also told his friends of another painter he had found in Normandy. This was the remarkable Dutchman Jongkind. His landscapes were saturated with colour, and their sincerity, at times even their naïveté, was combined with subtle observation of the Normandy shore’s variable nature. At this time Monet’s landscapes were not yet characterized by great richness of colour. Rather, they recalled the tonalities of paintings by the Barbizon artists, and Boudin’s seascapes. He composed a range of colour based on yellow-brown or blue-grey. At the Third Impressionist Exhibition in 1877 Monet presented a series of paintings for the first time: seven views of the Saint-Lazare train station. He selected them from among twelve he had painted at the station. This motif in Monet’s work is in line not only with Manet’s Chemin de fer (The Railway) and with his own landscapes featuring trains and stations at Argenteuil, but also with a trend that surfaced after the railways first began to appear. In 1883, Monet had bought a house in the village of Giverny, near the little town of Vernon. At Giverny, series painting became one of his chief working procedures. Meadows became his permanent workplace. When a journalist, who had come from Vétheuil to interview Monet, asked him where his studio was, the painter answered, “My studio! I’ve never had a studio, and I can’t see why one would lock oneself up in a room. To draw, yes – to paint, no”. Then, broadly gesturing towards the Seine, the hills, and the silhouette of the little town, he declared, “There’s my real studio.”Monet began to go to London in the last decade of the nineteenth century. He began all his London paintings working directly from nature, but completed many of them afterwards, at Giverny. The series formed an indivisible whole, and the painter had to work on all his canvases at one time. A friend of Monet’s, the writer Octave Mirbeau, wrote that he had accomplished a miracle. With the help of colours he had succeeded in recreating on the canvas something almost impossible to capture: he was reproducing sunlight, enriching it with an infinite number of reflections. Alone among the impressionists, Claude Monet took an almost scientific study of the possibilities of colour to its limits; it is unlikely that one could have gone any further in that direction.
David to Delacroix by
In this beautifully illustrated study of intellectual and art history, Dorothy Johnson explores the representation of classical myths by renowned French artists in the late eighteenth and early nineteenth centuries, demonstrating the extraordinary influence of the natural sciences and psychology on artistic depiction of myth. Highlighting the work of major painters such as David, Girodet, Gerard, Ingres, and Delacroix and sculptors such as Houdon and Pajou, David to Delacroix reveals how these artists offered innovative reinterpretations of myth while incorporating contemporaneous and revolutionary discoveries in the disciplines of anatomy, biology, physiology, psychology, and medicine. The interplay among these disciplines, Johnson argues, led to a reexamination by visual artists of the historical and intellectual structures of myth, its social and psychological dimensions, and its construction as a vital means of understanding the self and the individual's role in society. This confluence is studied in depth for the first time here, and each chapter includes rich examples chosen from the vast number of mythological representations of the period. While focused on mythical subjects, French Romantic artists, Johnson argues, were creating increasingly modern modes of interpreting and meditating on culture and the human condition.
Gustave Courbet by
Ornans, Courbet’s birthplace, is near the beautiful valley of the Doubs River, and it was here as a boy, and later as a man, that he absorbed the love of landscape. He was by nature a revolutionary, a man born to oppose existing order and to assert his independence; he had that quality of bluster and brutality which makes the revolutionary count in art as well as in politics. In both directions his spirit of revolt manifested itself. He went to Paris to study art, yet he did not attach himself to the studio of any of the prominent masters. Already in his country home he had had a little instruction in painting, and preferred to study the masterpieces of the Louvre. At first his pictures were not sufficiently distinctive to arouse any opposition, and were admitted to the Salon. Then followed the Funeral at Ornans, which the critics violently assailed: “A masquerade funeral, six metres long, in which there is more to laugh at than to weep over.” Indeed, the real offence of Courbet’s pictures was that they represented live flesh and blood. They depicted men and women as they really are and realistically doing the business in which they are engaged. His figures were not men and women deprived of personality and idealised into a type, posed in positions that will decorate the canvas. He advocated painting things as they are, and proclaimed that la vérité vraie must be the aim of the artist. So at the Universal Exposition of 1855 he withdrew his pictures from the exhibition grounds and set them in a wooden booth, just outside the entrance. Over the booth he posted a sign with large lettering. It read, simply: “Courbet – Realist.” Like every revolutionary, he was an extremist. He ignored the fact that to every artist the truth of nature appears under a different guise according to his way of seeing and experiencing. Instead, he adhered to the notion that art is only a copying of nature and not a matter also of selection and arrangement. In his contempt for prettiness Courbet often chose subjects which may fairly be called ugly. But that he also had a sense of beauty may be seen in his landscapes. That sense, mingled with his capacity for deep emotion, appears in his marines – these last being his most impressive work. Moreover, in all his works, whether attractive or not to the observer, he proved himself a powerful painter, painting in a broad, free manner, with a fine feeling for colour, and with a firmness of pigment that made all his representations very real and stirring.
Matisse the Master by
"If my story were ever to be written down truthfully from start to finish, it would amaze everyone," wrote Henri Matisse. It is hard to believe today that Matisse, whose exhibitions draw huge crowds worldwide, was once almost universally reviled and ridiculed. His response was neither to protest nor to retreat; he simply pushed on from one innovation to the next, and left the world to draw its own conclusions. Unfortunately, these were generally false and often damaging. Throughout his life and afterward people fantasized about his models and circulated baseless fabrications about his private life. Fifty years after his death,Matisse the Master(the second half of the biography that began with the acclaimedThe Unknown Matisse)shows us the painter as he saw himself. With unprecedented and unrestricted access to his voluminous family correspondence, and other new material in private archives, Hilary Spurling documents a lifetime of desperation and self-doubt exacerbated by Matisse's attempts to counteract the violence and disruption of the twentieth century in paintings that now seem effortlessly serene, radiant, and stable. Here for the first time is the truth about Matisse's models, especially two Russians: his pupil Olga Meerson and the extraordinary Lydia Delectorskaya, who became his studio manager, secretary, and companion in the last two decades of his life. But every woman who played an important part in Matisse's life was remarkable in her own right, not least his beloved daughter Marguerite, whose honesty and courage surmounted all ordeals, including interrogation and torture by the Gestapo in the Second World War. If you have ever wondered how anyone with such a tame public image as Matisse could have painted such rich, powerful, mysteriously moving pictures, let alone produced the radical cut-paper and stained-glass inventions of his last years, here is the answer. They were made by the real Matisse, whose true story has been written down at last from start to finish by his first biographer, Hilary Spurling.
Bauhaus by
The Bauhaus movement (meaning the “house of building”) developed in three German cities - it began in Weimar between 1919 and 1925, then continued in Dessau, from 1925 to 1932, and finally ended in 1932-1933 in Berlin. Three leaders presided over the growth of the movement: Walter Gropius, from 1919 to 1928, Hannes Meyer, from 1928 to 1930, and Ludwig Mies van der Rohe, from 1930 to 1933. Founded by Gropius in the rather conservative city of Weimar, the new capital of Germany, which had just been defeated by the other European nations in the First World War, the movement became a flamboyant response to this humiliation. Combining new styles in architecture, design, and painting, the Bauhaus aspired to be an expression of a generational utopia, striving to free artists facing a society that remained conservative in spite of the revolutionary efforts of the post-war period. Using the most modern materials, the Bauhaus was born out of the precepts of William Morris and the Arts and Crafts movement, introducing new forms, inspired by the most ordinary of objects, into everyday life. The shuttering of the center in Berlin by the Nazis in 1933 did not put an end to the movement, since many of its members chose the path of exile and established themselves in the United States. Although they all went in different directions artistically, their work shared the same origin. The most influential among the Bauhaus artists were Anni Albers, Josef Albers, Marianne Brandt, Marcel Breuer, Lyonel Feininger, Ludwig Hilberseimer, Paul Klee, Wassily Kandisky, and Lothar Schreyer. Through a series of beautiful reproductions, this work provides an overview of the Bauhaus era, including the history, influence, and major figures of this revolutionary movement, which turned everyday life into art.
Gerhard Richter: forty years of painting by
With this catalog of the first major U.S. retrospective of the remarkably diverse paintings of the German-born Richter, Storr (senior curator of painting and sculpture, Museum of Modern Art, NY; Gerhard Richter: October 18, 1977) sets out to increase our understanding of Richter to parallel that of American contemporary post-abstract expressionists (among them, Jasper Johns and Robert Ryman). Storr's fascinating introductory and biographical essay frames the historical, art, and personal movements that have provoked Richter's exploration of painting's place in a world rent by World War II, photography, and abstraction. Among other insights, Storr hits on the distancing discomfort of studying Richter's photo-based paintings when he cites the painter's "calculated discretion" in dealing with catastrophic subject matter, such as aspects of the Holocaust. Over 200 color and duotone images, gorgeously reproduced, firmly document the full range of this vital artist, encompassing everything from his intense, colorful abstractions to his gray-scale photo-reproductions to his highly realistic portraits and still lifes, and more. An interview with Richter fills out the book. This will be the standard on Richter for some time to come, and it is essential for all serious art collections. Rebecca Miller, "Library Journal" (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Chicano Visions by
Cheech Marin, best known as a comedian and actor as well as a director and musician, here showcases his monumental collection of Chicano art in a landmark book that will be accompanied by a blockbuster exhibition currently touring the U.S. Featuring over 30 artists' work, including Gronk, Patssi Valdex and Carlos Almaraz, these paintings depict Hispanic culture, religion and politics with brilliant color and emotion. With incisive essays by leading scholars that describe the origins of Chicano art, this is work that is on the cutting edge of contemporary art.
Diego Rivera by
They met in 1928, Frida Kahlo was then 21 years old and Diego Rivera was twice her age. He was already an international reference, she only aspired to become one. An intense artistic creation, along with pain and suffering, was generated by this tormented union, in particular for Frida. Constantly in the shadow of her husband, bearing his unfaithfulness and her jealousy, Frida exorcised the pain on canvas, and won progressively the public’s interest. On both continents, America and Europe, these commited artists proclaimed their freedom and left behind them the traces of their exceptional talent. In this book, Gerry Souter brings together both biographies and underlines with passion the link which existed between the two greatest Mexican artists of the twentieth century.
Frida Kahlo by
Behind Frida Kahlo’s portraits, lies the story of both her life and work. It is precisely this combination that draws the reader in. Frida’s work is a record of her life, and rarely can we learn so much about an artist from what she records inside the picture frame. Frida Kahlo truly is Mexico’s gift to the history of art. She was just eighteen years old when a terrible bus accident changed her life forever, leaving her handicapped and burdened with constant physical pain. But her explosive character, raw determination and hard work helped to shape her artistic talent. And although he was an obsessive womanizer, the great painter Diego Rivera was by her side. She won him over with her charm, talent and intelligence, and Kahlo learnt to lean on the success of her companion in order to explore the world, thus creating her own legacy whilst finding herself surrounded by a close-knit group of friends. Her personal life was turbulent, as she frequently left her relationship with Diego to one side whilst she cultivated her own bisexual relationships. Despite this, Frida and Diego managed to save their frayed relationship. The story and the paintings that Frida left us display a courageous account of a woman constantly on a search of self discovery.
Our America: the Latino presence in American art by
Is Latino art an integral part of modern American art? Presenting over one hundred major artworks from the Smithsonian American Art Museum, Our America seeks to "recalibrate" enduring concepts about American national culture by exploring how one group of artists--those of Latin American descent and heritage--express their relationship to American art, history, and culture.
E. Carmen Ramos addresses the whole issue of the definition of "Latino art" and how this emerged within the context of the Civil Rights movement of the 1960s as American artists of Latino descent (Mexican American, Puerto Rican, Cuban American, and, more recently, Dominican) began to give a tangible face to their culture and history.
Highlights include an installation altar by Amalia Mesa-Bains, the "recycled" films of Raphael Montañez Ortiz, and a 1960 geometric painting by Carmen Herrera. Other notable artists include Olga Albizu, Melesio "Mel" Casas, Maria Magdalena Campos-Pons, Margarita Cabrera, Enrique Chagoya, Teresita Fernández, Ken Gonzales-Day, Luis Jiménez, Ana Mendieta, Pepón Osorio, Sophie Rivera, Freddy Rodríguez, and John M. Valadez, among many others.
Winner of first prize in the Association of Art Museum Curators (AAMC) award for excellence, 2014
Author and curator E. Carmen Ramos is the Smithsonian American Art Museum's curator of Latino art. She has organized numerous shows, including the fifth biennial at El Museo del Barrio in New York City in 2007.
Tomás Ybarra-Frausto, PhD , the "grandfather" of this subject, and formerly associate director for creativity and culture at the Rockefeller Foundation in New York, has written and published extensively on US/Latino cultural issues.
Accompanies an exhibition with the following venues:
Smithsonian American Art Museum, Washington, DC, October 25, 2013-March 2, 2014
The Patricia and Phillip Frost Art Museum at Florida International University in Miami, FL,March 28, 2014-June 22, 2014
Crocker Art Museum in Sacramento, CA, September 21, 2014-January 11, 2015
Utah Museum of Fine Arts in Salt Lake City, UT, February 6, 2015-May 17, 2015
Arkansas Art Center in Little Rock, AR, October 16, 2015-January 17, 2016
Delaware Museum of Art in Wilmington, DE, March 5, 2016-May 29, 2016
Sagrado: a photopoetics across the Chicano homeland by
Un lugar sagrado, a sacred place where two or more are gathered in the name of community, can be found almost anywhere and yet it is elusive: a charro arena behind a rock quarry, on the pilgrimage trail to Chimayo, a curandero's shrine in South Texas, or at a binational Mass along the border. Sagrado is neither a search for identity nor a quest for a homeland but an affirmation of an ever-evolving cultural landscape. Embedded at the heart of this remarkable book, in which prose, photographs, and poems complement each other, is a photopoetic journey across the Chicano Southwest."
Twentieth-Century Art of Latin America by
The twentieth-century art of Latin America is art in the western tradition, and its leading figures--Wifredo Lam, Roberto Matta, Diego Rivera, Joaquín Torres-García, to name only a few--have achieved international stature. Yet much of the writing about this art has offered either a victimized view of an art tradition dominated by foreign models or a romanticized view of what Latin American art should be. This pathfinding book, by contrast, seeks not to "invent" Latin American art but to look at it from the points of view of its own artists and critics. Drawing on some forty years of studying and teaching Latin American art, Jacqueline Barnitz surveys the major currents and artists of the twentieth century in Mexico, the Caribbean, and South America (including Brazil). She progresses chronologically from modernismo and the break with nineteenth-century academic art to some of the trends of the 1980s, setting each movement within its historical and cultural contexts. This grand survey of modern Latin American art will thus be the essential guide to a vibrant art tradition, as well as a vital teaching tool. Lavishly illustrated with color and black-and-white reproductions of major works, it will be useful to artists, collectors, historians, writers, and social scientists, as well as art historians. Jacqueline Barnitz is Professor of Modern Latin American Art at the University of Texas at Austin.
Modern Art by
Public interest in modern art continues to grow, as witnessed by the spectacular success of the Tate Modern in London and the Bilbao Guggenheim. Modern Art: A Very Short Introduction engages general readers, offering them not only information and ideas about modern art, but also explaining its contemporary relevance and history. The book focuses on interrogating the idea of "modern" art by asking such questions as: What makes a work of art qualify as modern, or fail to? How has this selection been made? What is the relationship between modern and contemporary art? Is "postmodernist" art no longer modern, or just no longer modernist? In either case, why--and what does this claim mean, both for art and the idea of "the modern?"
Pop Art and the Origins of Post-Modernism by
Pop Art and the Origins of Post-Modernism examines the critical reception of Pop Art in America during the 1960s. Comparing the ideas of a group of New York-based critics, including Leo Steinberg, Susan Sontag, and Max Kozloff, among others, Sylvia Harrison demonstrates how their ideas - broadly categorized as either sociological or philosophical - bear a striking similarity to the body of thought and opinion which is now associated with deconstructive post-modernism. Perceived through these disciplinary lenses, Pop Art arises as not only a reflection of the dominance of mass communications and capitalist consumerism in post-war American society, but also a subversive commentary on worldviews and the factors necessary for their formation.
Malevich by
Pioneer of geometric abstract art and one of the most important members of the Russian Avant-garde, Malevitch experimented with various modernist styles. In reaction to the influence of Cubism and Futurism on artists in Russia, Malevitch in his art reduced the world of nature to basic elements and colours, such as in his Red Square (1915). He introduced his abstract, non-objective geometric patterns in a style and artistic movement he called Suprematism. One of the important names of the twentieth century, he however turned back to Primitivism once Russia’s communist leaders forced him to do so.
Marc Chagall by
Marc Chagall was born into a strict Jewish family for whom the ban on representations of the human figure had the weight of dogma. A failure in the entrance examination for the Stieglitz School did not stop Chagall from later joining that famous school founded by the Imperial Society for the Encouragement of the Arts and directed by Nicholas Roerich. Chagall moved to Paris in 1910. The city was his “second Vitebsk”. At first, isolated in the little room on the Impasse du Maine at La Ruche, Chagall soon found numerous compatriots also attracted by the prestige of Paris: Lipchitz, Zadkine, Archipenko and Soutine, all of whom were to maintain the “smell” of his native land. From his very arrival Chagall wanted to “discover everything”. And to his dazzled eyes painting did indeed reveal itself. Even the most attentive and partial observer is at times unable to distinguish the “Parisian”, Chagall from the “Vitebskian”. The artist was not full of contradictions, nor was he a split personality, but he always remained different; he looked around and within himself and at the surrounding world, and he used his present thoughts and recollections. He had an utterly poetical mode of thought that enabled him to pursue such a complex course. Chagall was endowed with a sort of stylistic immunity: he enriched himself without destroying anything of his own inner structure. Admiring the works of others he studied them ingenuously, ridding himself of his youthful awkwardness, yet never losing his authenticity for a moment. At times Chagall seemed to look at the world through magic crystal – overloaded with artistic experimentation – of the Ecole de Paris. In such cases he would embark on a subtle and serious play with the various discoveries of the turn of the century and turned his prophetic gaze like that of a biblical youth, to look at himself ironically and thoughtfully in the mirror. Naturally, it totally and uneclectically reflected the painterly discoveries of Cézanne, the delicate inspiration of Modigliani, and the complex surface rhythms recalling the experiments of the early Cubists (See-Portrait at the Easel, 1914). Despite the analyses which nowadays illuminate the painter’s Judaeo-Russian sources, inherited or borrowed but always sublime, and his formal relationships, there is always some share of mystery in Chagall’s art. The mystery perhaps lies in the very nature of his art, in which he uses his experiences and memories. Painting truly is life, and perhaps life is painting.
Joan Miro by
Nature, the cosmos, and humanity were all subjects which Joan Miro (1893-1983) pursued in a tremendous array of styles and in nearly every known medium. This beautiful new book communicates the scope and quality of his art, including the most important works throughout his life. Tracing Miro's entire career, this pictorial journey begins in the 1920s with his introduction to surrealism, cubism, and dadaism, and with the flowering of his friendships with Picasso, Braque and other influential artists and poets. It moves on to his creation of a universal iconographic language, a style which reached maturity in the 1940s, and which forever distinguished Miro from his contemporaries. This book includes nearly one hundred of his greatest works, displaying the subconscious expression of this lyrical painter, whose brilliant use of color, line, and shape resulted in unique and dazzling compositions. Fascinating photographs depict the artist at various stages of his life while perceptive essays about his work round out this exciting vision of the world as seen through Miro's eyes.