New Tendencies
An account of a major international art movement originating in the former Yugoslavia in the 1960s, which anticipated key aspects of information aesthetics. New Tendencies, a nonaligned modernist art movement, emerged in the early 1960s in the former Yugoslavia, a nonaligned country. It represented a new sensibility, rejecting both Abstract Expressionism and socialist realism in an attempt to formulate an art adequate to the age of advanced mass production. In this book, Armin Medosch examines the development of New Tendencies as a major international art movement in the context of social, political, and technological history. Doing so, he traces concurrent paradigm shifts: the change from Fordism (the political economy of mass production and consumption) to the information society, and the change from postwar modernism to dematerialized postmodern art practices. Medosch explains that New Tendencies, rather than opposing the forces of technology as most artists and intellectuals of the time did, imagined the rapid advance of technology to be a springboard into a future beyond alienation and oppression. Works by New Tendencies cast the viewer as coproducer, abolishing the idea of artist as creative genius and replacing it with the notion of the visual researcher. In 1968 and 1969, the group actively turned to the computer as a medium of visual research, anticipating new media and digital art. Medosch discusses modernization in then-Yugoslavia and other nations on the periphery; looks in detail at New Tendencies' five major exhibitions in Zagreb (the capital of Croatia); and considers such topics as the group's relation to science, the changing relationship of manual and intellectual labor, New Tendencies in the international art market, their engagement with computer art, and the group's eventual eclipse by other "new art practices" including conceptualism, land art, and arte povera. Numerous illustrations document New Tendencies' works and exhibitions.
Van Gogh's La Croqueuse du Jardin
In 2005, Rose Forcir unearths a cache of well-preserved letters written by her grandmother over one hundred years earlier. These letters resurrect a lingering suspicion of Rose's. Was her grandmother the friend, muse, and lover of Vincent van Gogh? Was the painting La Croqueuse du Jardin, which still graces the dining room wall of the family home, painted by this genius? In the spring of 1889, Emma du Jardin collapses after the sudden death of her baby, and her husband removes her from their comfortable home in Paris to the asylum of St. Paul de Mausole in far away Provence. During the months of her confinement, Emma writes frequently to her dear sister, Dominique, recalling her formerly happy life in Paris, wondering about the opening of the Exposition Universelle featuring the new Tour d'Eiffel, chronicling the lushness of Provence in the spring, and the describing the treatments for mental illness practiced at the time. Emma's letters further recount her struggle to regain her emotional balance, her attempts to puzzle out her husband's seeming indifference, and her life with the eccentric asylum residents. Most intriguingly, in bold, sensuous strokes Emma reveals the developing relationship between a fellow resident and painter named Vincent and herself. Her affair with the mysterious Vincent helps Emma gain the insight and courage she needs to pursue a new way of life upon leaving the asylum.
Vallero! #3
VALLERO! the legend continues. After being captured by the dominant Winnetka tribe, Fernando Valle and Sue Savage must return to the Winnetka campsite and face their uncertain fate. An inevitable battle is approaching the tribe, testing their will to survive. Fernando and Sue must find a way out. Will they escape the clutches of the Winnetka? Enter the world of VALLERO! and find out for yourself.
Coats of Arms
With full-color pages accessible to readers of any age, this how and why quick-start guide explains knighthood and nobility and royalty, what coats of arms mean, how to create your own, and how to assemble those of your ancestors. Heraldry is the art and profession of creating designs within shield-shaped outlines meant to identify important individuals and their descendants, as well as organizations (towns, schools, corporations) and nations. These designs often come surrounded by additional symbols such as helms, crowns or crests. Although few of us bear actual shields in the modern world, many today print their ancestors' armorial symbols onto paper, engrave them into jewelry or tableware, and carve them into wood and stone. Readers will learn about: Symbols of Identity - where Heraldry came from, and how it can still empower people todayWithin the Shield - the symbols which identify a person or family or organizationBeyond the Shield - the symbols which identify social rank (gentry, knight, noble, royal)Ancestry - where last names came from, and where you come into the story"Coats of Arms is a thorough and comprehensive guide for anyone fascinated by heraldry. You'll learn how to differentiate a duke from a marquis, a firstborn son from a second, and the meaning behind every symbol on a shield. A treasure to refer to time and time again. I know I'll be referring back to it when I get back to genealogy and looking at my own medieval ancestors' coats of arms." --Tyler R. Tichelaar, PhD and award-winning author of King Arthur's Children: A Study in Fiction and Tradition"History can be boring beyond belief if it is a mere list of names and dates. Or it can be immensely fascinating. Coats Of Arms: An Introduction to the Science and Art of Heraldry will bring past times and even present customs to life through the study of symbols of many kinds, many though not all relating to badges of nobility. Any student of history, and of cultural differences, will benefit from looking at the many beautiful illustrations, all of which are keys for entry into ways of thinking and living. It is a good day when I learn something new, so I really enjoyed editing this book for the publisher." --Bob Rich, PhD and author of Sleeper, Awake!"One of the most difficult requirements for teachers of history and English is to find ways to assess students with special needs. Coats of Arms offers a uniquely creative means to enhance the study of Medieval Times; most students, with or without disability, will enjoy learning patterns, colors and shapes that relate to their personal history. Creating one's own coat of arms using methods centuries old will help students relate to the past while tying together strands of history still used in the present. A secondary bonus is the intriguing vocabulary presented in this book, with new meanings for 'hatching' and 'field' as examples." --Carolyn Bouldin, reading comprehension specialist and teacher of secondary EnglishLearn more at https: //coatsofarms.actionablehope.comFrom Modern History Press
Israel's Transformative Black Artists
Israel's Transformative Black Artists is a book about 7 Ethiopian Jewish artists and their work. These artists practice and participate in Judaism, live in Israel (or at some point did), and create beautiful paintings, drawings, photographs, and graphic designs.
The Painters of the Sacred Heart
The first substantial publication on the self-taught French painters whose works tell an alternate story of modernismBy day, they were customs officers, gardeners or carnival wrestlers; by night, they were self-taught painters, working independently, who created their own fantastic worlds of imagery. Sometimes characterized as "na簿ve" or "outsider" artists, Henri Rousseau (1844-1910), Camille Bombois (1883-1970), Andr矇 Bauchant (1873-1958), Louis Vivin (1861-1939) and S矇raphine Louis (1864-1942) were dubbed "the Painters of the Sacred Heart." They were first discovered by German art historian and gallerist Wilhelm Uhde, who in 1928 organized their first joint exhibition in Paris. Uhde had long been drawn to art unconstrained by formal training or the art canon, and championed the Sacred Heart painters' warm, emotional depictions of flowers, fruit, people and landscapes, real and imaginary. This volume celebrates their magical and sensual creations.
Enchanted Objects
Addressing current debates in museum studies, cultural studies, art history, and literary criticism, Enchanted Objects develops an extensive theory of how contemporary literature engages with and relates to aesthetic objects.
Totem Animals Coloring Book
Totem Animals Coloring Book 39 beautifully illustrated coloring pages with 13 different totem animals. These 13 totem animals encourage you to live life fully and authentically. Every animal has it's own specific message. See which animal you pick intuitively. Great as a gift or as a gift to yourself. WORKING WITH TOTEM ANIMALS Totem animals are spirit animals that help you bring out a certain quality, power or emotion from within yourself. By coloring them you make contact with this quality, it helps you to reflect certain areas in your life that need your attention at this moment. See what theme comes up for you and how this animal can help you. Put your animal in a prominent place so you are reminded of the quality or power it brings to you daily! THE POWER OF COLORING Meditative coloring helps you not to think about what you do. allowing you to connect with your subconsciousness. a message can emerge for you or a theme can come up while coloring, let it submerge and feel it through.
Afrikan Flavor
Enjoy a refreshing time by coloring some symbols and patterns from Africa. It is relaxing and stress relieving.This book is filled with loads of African related images for your coloring pleasure. Grab a copy for yourself and a friend today and get started on the African Flavor Experience.
Fate of the Animals
In 1913, Franz Marc, one of the key figures of German Expressionism, created a masterpiece: The Fate of the Animals. With its violent slashes of color and line, the painting seemed to pre-figure both the outbreak of World War I and, more eerily, Marc's own death in an artillery barrage at the Battle of Verdun three years later. With his signature blend of wide-ranging erudition and lively, accessible prose, Morgan Meis explores Marc's painting in depth, guided in part by a series of letters Marc wrote to his wife Maria while he was a soldier in the war. In those letters, Marc explores the nature of art, the fate of European civilization, and the inner spiritual nature of all life. Along the way, Meis brings in other artists such as D.H. Lawrence, Edgar Degas, and Paul Klee to flesh out his argument. The Fate of the Animals also explores the darker undercurrents of German apocalyptic thinking in Marc's time, especially Norse mythology and the ancient Vedic texts as they influenced Schopenhauer, Nietzsche, and Heidegger. The Fate of the Animals is the second volume of Meis's Three Paintings Trilogy, the first volume of which, The Drunken Silenus, examined a painting by Rubens. The third volume (forthcoming) will consider a painting by Joan Mitchell.
For the Minds and Wills of Men
A gripping, historical art mystery set in 1950s Cold War Manhattan full of intrigue and conspiracy, For the Minds and Wills of Men is a story of art, love, and espionage, as well layered and complex as the abstract expressionist paintings that take center stage."Jeff Lanier brilliantly evokes the energy and excitement of the New York art world in this Cold War thriller with an artistic twist. Along the way, he gives us fascinating insights into Abstract Expressionism and the power of art to communicate values and ideas."-Ross King, New York Times bestselling, award-winning author of The Judgment of Paris, Brunelleschi'sDome, and Michelangelo and The Pope's CeilingMANHATTAN, 1953. Fear of communist subversion and espionage are tearing America apart. Abstract expressionism is on the verge of exploding, making New York the cultural epicenter of the world. While recovering a stolen Jackson Pollock for a wealthy client, art insurer Will Oxley falls for the client's daughter, Liz Bower, who leads him deep into the rebellious and seductive world of the abstract expressionist painters, their Village bar haunts and East Hampton binges. But when Will learns the painting-and Liz-may be hiding communist secrets better left hidden, he finds himself torn between exposing the girl he loves or risking his life by trusting her instead. Realizing nothing is as it seems, Will is caught between communist espionage, secret government programs, and the grip of cold war fear, suspicion, and betrayal where trust is all he has left...
We Found the Lost Sand Creek Site
We Found the Lost Sand Creek Site is a detailed account about how Chuck and Sheri Bowen used eyewitness accounts to find places to search for artifacts on his family's cattle ranch. The research began in 1995, and by 1997, Chuck had discovered over 3,000 1860s artifacts. The ranch included over seven miles of the creek, starting two miles above the Sand Creek monument. The book includes dialogue which separates it from most history books. It is the only book based on eyewitness accounts, discovery of artifacts and how they affect the traditional Sand Creek story. There are a lot of misunderstandings concerning Sand Creek, and this book provides clarity on information that hasn't been made available before. The location of the artifacts, including cannonball fragments, sheds new light on where things happened. Artifacts were found over several miles, showing how spread out the village and running battle locations were.
We Found the Lost Sand Creek Site
We Found the Lost Sand Creek Site is a detailed account about how Chuck and Sheri Bowen used eyewitness accounts to find places to search for artifacts on his family's cattle ranch. The research began in 1995, and by 1997, Chuck had discovered over 3,000 1860s artifacts. The ranch included over seven miles of the creek, starting two miles above the Sand Creek monument. The book includes dialogue which separates it from most history books. It is the only book based on eyewitness accounts, discovery of artifacts and how they affect the traditional Sand Creek story. There are a lot of misunderstandings concerning Sand Creek, and this book provides clarity on information that hasn't been made available before. The location of the artifacts, including cannonball fragments, sheds new light on where things happened. Artifacts were found over several miles, showing how spread out the village and running battle locations were.
The Enlightened Mind
The rise of Enlightenment philosophical and scientific thought during the long eighteenth century in Europe and North America (c. 1688-1815) sparked artistic and political revolutions, reframed social, gender, and race relations, reshaped attitudes toward children and animals, and reconceptualized womanhood, marriage, and family life. The meaning of "education" at this time was wide-ranging and access to it was divided along lines of gender, class, and race. Learning happened in diverse environments under the tutelage of various teachers, ranging from bourgeois mothers at home, to Spanish clergy, to nature itself.The contributors to this cross-disciplinary volume weave together methods in art history, gender studies, and literary analysis to reexamine "education" in different contexts during the Enlightenment era. They explore the implications of redesigned curricula, educational categorizations and spaces, pedagogical aids and games, the role of religion, and new prospects for visual artists, parents, children, and society at large. Collectively, the authors demonstrate how new learning opportunities transformed familial structures and the socio-political conditions of urban centers in France, Britain, the United States, and Spain. Expanded approaches to education also established new artistic practices and redefined women's roles in the arts. This volume offers groundbreaking perspectives on education that will appeal to beginning and seasoned humanities scholars alike.
Feast of Corpses
Yutian Li is a firm believer that colour should play a very large role in photographic images. Unfortunately, most of the colours in photographs are just a reproduction of reality or they are toned down by post-production software to please a bored aesthetic. In homage to Antoine D'Agata's masterpiece, I'm Starting to Feel the Pain, the book follows the route taken by a thermal imaging camera in 2022 (in part of Billingsgate Market, London). Based on the unique imaging characteristics of thermal imaging cameras, colour is given meaning. Yutian Li hopes to explore the relationship between humans and animals, and the meaning of life and death. He wants to present the dichotomy between death and life, and the unconscious violence of the human as subject against the object (other human or non-human) through these images with their contrasting colours. At the end of this journey, Yutian Li learns one thing: when fish are animals, he feels sorry for their misfortune; when they are food, he also finds them delicious.
Calligraphy Meets Philosophy - Talk 1
(I)Content is the soul of an artwork.Thus, catching the soul of Chinese calligraphy requires understanding the literary contents. To facilitate this, the Calligraphy Meets Philosophy series presents traditional Chinese calligraphy alongside line-by-line translated texts with remarks and footnotes.(II)Traditional Chinese calligraphy is not just about physical aesthetics. The art is also a reflection of one's temperament, charisma, refinement, and philosophies(1). Literary contents scribed by calligraphers thus play a significant role in the art and should never be overlooked. Indeed, Lanting Xu (《 蘭亭序 》), the most renowned piece of calligraphy in Chinese history, is not only praised for its aesthetics but also for its literary content(2). (III)Calligraphy Meets Philosophy - Talk 1 (《 尚語∙第一話 》) includes three calligraphic works and their translations: Heart Sutra (《般若波羅蜜多心經》), Great Learning (《大學》), and Zhuangzi - The Secret of Caring for Life (《莊子∙養生主》). It also includes Revisions to "An English Translation and the Correct Interpretation of Laozi's Tao Te Ching".(IV)This book could not have been published without the help of my father, Dr Kwok Kin POON (潘國鍵博士). I sincerely thank his priceless advice in my translations throughout the series. His unwavering support and tutelage have always been the chief drivers of my passion for learning and transmitting traditional Chinese calligraphy and culture.Knowledge is never pursued alone.KS Vincent PoonAugust 2022, Toronto
Color My Journey
This book was created out of a request from a reader, who felt a lack in good, beautiful, afro women coloring books.We are so happy to introduce this amazing adult coloring book to accompany " A Heart for the Home" series.The entire collection is about a young woman who digs into her past to rediscover who she was, heal the little girl stuck in the past, and unlock the inner godly woman she was always meant to be!We are sure you will love the quirky, artsy, abstract style between the pages of this book. Color on your journey while you, Stay Beautiful
Theodore Gericault, Painting Black Bodies
This book examines Th矇odore G矇ricault's images of black men, women and children who suffered slavery's trans-Atlantic passage in the late eighteenth and early nineteenth centuries, including his 1819 painting Raft of the Medusa.
Jamaican Diaspora
Jamaica's strength lies in their people. The ability to make something out of nothing is not unusual but the norm. It was migrant workers working in the cane fields of Florida that first heard the sounds of Black American Blues and Jazz. When they came back to the island, they replicated and rearranged the music to create the sound of ska. That musical genre evolved into today's reggae music. Recreating popular tunes are an example of the many areas that Jamaicans were introduced to and then simulated with the uniqueness of the cultures flexibility. Having the ability to adjust and evolve has help Jamaicans remain competitive viable instead of being a marginalized group.
South Indian Portraits in Stone and Metal
South Indian Portraits deals extensively with the different types of sculptures and portraits found in various temples and how they found a significant place in the monuments and temples of India. Written by T.G. Aravamuthan, this book is a notable contribution to the art and history of south Indian archaeology. Portrait sculptures have been found in various parts of India. Even in the nooks and corners of south India and in its earliest monuments we come across sculptures which are indubitably portraits. Nowhere else in India, has the art been so persistent or drawn more freely from the people as in South India. A few references in Sanskrit literature are utilised later in discussing the evolution of portrait sculpture. The earliest Tamil literature now available contains indications of the popularity of sculptures portraying human beings. Fully illustrated with samples from various sources, the instinct for portraiture was persistent in the south than in the north.
Killing Men & Dying Women
What did it mean for painter Lee Krasner to be an artist and a woman if, in the culture of 1950s New York, to be an artist was to be Jackson Pollock and to be a woman was to be Marilyn Monroe? With this question, Griselda Pollock begins a transdisciplinary journey across the gendered aesthetics and the politics of difference in New York abstract, gestural painting. Revisiting recent exhibitions of Abstract Expressionism that either marginalised the artist-women in the movement or focused solely on the excluded women, as well as exhibitions of women in abstraction, Pollock reveals how theories of embodiment, the gesture, hysteria and subjectivity can deepen our understanding of this moment in the history of painting co-created by women and men. Providing close readings of key paintings by Lee Krasner and re-thinking her own historic examination of images of Jackson Pollock and Helen Frankenthaler at work, Pollock builds a cultural bridge between the New York artist-women and their other, Marilyn Monroe, a creative actor whose physically anguished but sexually appropriated star body is presented as pathos formula of life energy. Monroe emerges as a haunting presence within this moment of New York modernism, eroding the policed boundaries between high and popular culture and explaining what we gain by re-thinking art with the richness of feminist thought.
Modern Sculpture
This tapestry of primary sources is an essential primer on sculpture and its makers. Modern Sculpture presents a selection of manifestos, documents, statements, articles, and interviews from more than ninety sculptors, including a diverse selection of contemporary sculptors. With this book, editor Douglas Dreishpoon defers to artists, whose varied points of view illuminate sculpture's transformation--from object to action, concept to phenomenon--over the course of more than a century. Chapters arranged in chronological sequences highlight dominant stylistic, philosophical, and thematic threads uniting kindred groups. The result is an artist-centric history of sculpture as a medium of consequence and character.
Time and Its Object
This volume examines the way objects and images relate to and shape notions of temporality and history. Bringing together ethnographic studies from the Lowlands of Central and South America and Melanesia, it explores the temporality inhering in images and artefacts from a comparative perspective.
Italy, Cyprus, and Artistic Exchange in the Medieval Mediterranean
In this volume Anthi Andronikou explores the social, cultural, religious and trade encounters between Italy and Cyprus during the late Middle Ages, from ca. 1200 -1400, and situates them within several Mediterranean contexts. Revealing the complex artistic exchange between the two regions for the first time, she probes the rich but neglected cultural interaction through comparison of the intriguing thirteenth-century wall paintings in rock-cut churches of Apulia and Basilicata, the puzzling panels of the Madonna della Madia and the Madonna di Andria, and painted chapels in Cyprus, Lebanon, and Syria. Andronikou also investigates fourteenth-century cross-currents that have not been adequately studied, notably the cult of Saint Aquinas in Cyprus, Crusader propaganda in Santa Maria Novella in Florence, and a unique series of icons crafted by Venetian painters working in Cyprus. Offering new insights into Italian and Byzantine visual cultures, her book contributes to a broader understanding of cultural production and worldviews of the medieval Mediterranean.
Art and Artist
The motivation for this volume arose from a desire to bridge the gap between artists and their audience, facilitating a deeper understanding of the artist's purpose and process. Rico Lebrun, during an evening discussion in San Miguel de Allende, highlighted the importance of giving artists a platform to articulate, in their own words, the thoughts and feelings underlying their creations. While art communicates through form, color, sound, or texture, words can sometimes clarify the artist's unique perspective on style, technique, and life itself. Just as people in other fields seek understanding and respect from their peers, artists also face the challenge of gaining acceptance, especially when their work diverges from popular norms. This divergence can lead to a defensive resistance from audiences, who often prefer the familiar over the unsettling unknown that avant-garde art might represent. In our society, this tension frequently casts the artist as an outlier, one who disrupts the comfort of the present by intuitively reaching into future possibilities. New ideas in art, like those in science, require an openness to the unfamiliar; yet, audiences may resist, feeling overwhelmed by the demands of confronting something new. The artist, however, hopes for more than superficial applause or detached critique. They seek a resonant response that validates the enduring impact of their work. This volume, therefore, is intended to foster a more profound dialogue--not just between artist and audience, but also among artists themselves--enhancing mutual understanding and respect for the creative journey. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1956.
Art and Artist
The motivation for this volume arose from a desire to bridge the gap between artists and their audience, facilitating a deeper understanding of the artist's purpose and process. Rico Lebrun, during an evening discussion in San Miguel de Allende, highlighted the importance of giving artists a platform to articulate, in their own words, the thoughts and feelings underlying their creations. While art communicates through form, color, sound, or texture, words can sometimes clarify the artist's unique perspective on style, technique, and life itself. Just as people in other fields seek understanding and respect from their peers, artists also face the challenge of gaining acceptance, especially when their work diverges from popular norms. This divergence can lead to a defensive resistance from audiences, who often prefer the familiar over the unsettling unknown that avant-garde art might represent. In our society, this tension frequently casts the artist as an outlier, one who disrupts the comfort of the present by intuitively reaching into future possibilities. New ideas in art, like those in science, require an openness to the unfamiliar; yet, audiences may resist, feeling overwhelmed by the demands of confronting something new. The artist, however, hopes for more than superficial applause or detached critique. They seek a resonant response that validates the enduring impact of their work. This volume, therefore, is intended to foster a more profound dialogue--not just between artist and audience, but also among artists themselves--enhancing mutual understanding and respect for the creative journey. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1956.
The Madman's Gallery
Enter The Madman's Gallery and discover an extraordinary, illustrated exhibition of the greatest curiosities from the global history of art, featuring one hundred magnificently eccentric antique paintings, engravings, illustrations, and sculptures, each with a fascinatingly bizarre story to tell. Brought to light from the depths of libraries, museums, dealers, and galleries around the world, these forgotten artistic treasures include portraits of oddballs such as the British explorer with a penchant for riding crocodiles, and the Italian monk who levitated so often he's recognized as the patron saint of airplane passengers. Discover impossible medieval land yachts, floating churches, and eagle-powered airships. Encounter dog-headed holy men, armies of German giants, 18th-century stuntmen, human chessboards, screaming ghost heads, and more marvels of the human imagination. A captivating odditorium of obscure and engaging characters and works, each expertly brought to life by historian and curator of the strange Edward Brooke-Hitching, here is a richly illustrated and entertaining gallery for lovers of outr矇 art and history. A GLOBAL SURVEY: Here are European painters who used ground up Egyptian mummies as pigment, examples of the antique Japanese art of Gyotaku (fish stone rubbings) using dried fish as printing plates, a Parisian art hoax featuring paintings actually created by a chimpanzee, and much more. ODDITIES ABOUND: Depictions of the demon worms believed to cause toothaches carved into human molars: Check. A nude version of the Mona Lisa painted by the "bad boy" apprentice of Leonardo da Vinci: Here it is. The most admiring portrait of a cannibal likely ever produced: Presented in full color. EXPERT AUTHOR: Edward Brooke-Hitching is a master of taking visually driven deep dives into unusual historical subjects, such as the maps of imaginary geography in The Phantom Atlas or ancient pathways through the stars in The Sky Atlas, imaginative depictions of heavens, hells, and afterworlds in The Devil's Atlas, and the strangest books imaginable in The Madman's Library. Perfect for: Fans of beautifully illustrated works, art history, and unusual world atlas collections Readers of quirky history such as Schott's Miscellany, Atlas Obscura, and the wildly popular QI series (for which the author is a writer and researcher) Gift for a graduate, teacher, or student of world history, art history, library science, archeology, sociology, or any discipline engaged in the exploration of curiosities and human nature
Matisse. Cut-Outs. 40th Ed.
Toward the end of his monumental career as a painter, sculptor, and lithographer, an elderly, sickly Matisse was unable to stand and use a paintbrush for long. In this late phase of his life--he was almost 80 years of age--he developed the technique of "carving into color," creating bright, bold paper cut-outs. Though dismissed by some contemporary critics as the folly of a senile old man, these gouaches decoup矇es (gouache cut-outs) in fact represented a revolution in modern art, a whole new medium that reimagined the age-old conflict between color and line. This edition of the first volume of our original award-winning XXL book provides a thorough historical context to Matisse's cut-outs, tracing their roots to his 1930 trip to Tahiti and continuing through to his final years in Nice. It includes many photos of Matisse, as well as some rare images by Henri Cartier-Bresson and the filmmaker F. W. Murnau, with texts by Matisse, publisher E. T矇riade, the poets Louis Aragon, Henri Michaux, and Pierre Reverdy, and Matisse's son-in-law Georges Duthuit. In their deceptive simplicity, the cut-outs achieved both a sculptural quality and an early minimalist abstraction, which would profoundly influence generations of artists to come. Exuberant, multi-hued, and often grand in scale, these works are true pillars of 20th-century art, and as bold and innovative to behold today as they were in Matisse's lifetime.
Figured Stones
'Figured Stones' is a masterpiece of natural philosophy and a vital contribution to the emerging field of vibrant materialism. It is both a manual of visionary geology and a treatise on lithic scrying; a manifesto on rock veneration and an exploration of deep-time consciousness. In vivid and lucent prose, Paul Prudence crosses the 'blood-brain barrier of dimensionality', condensing and expanding both space and time by drawing the extremities of scale into paradoxical alignment. Vast landscapes become visible in miniature surfaces, and, liberated from our reductive impressions of time, rock itself becomes pliant, mercurial and alive. In this expanded state, the lithosphere is self-aware, memorising its own telluric activity, from weather patterns to the fluid dynamics of rivers.With Prudence as a guide we encounter rocks as messengers, talismans and oracles. Stones become portals to other worlds and act as intermediaries to the domains of gods, demons and spirits. Geology acts as a divinatory system for decoding dreams, or as a tool for connecting us to our greater ancestral consciousness. At a time when we are barely cognisant of the lives of other-than-human beings, Prudence resuscitates the pre-Socratic doctrine of hylozoism - that all matter has life. Throughout the pages of 'Figured Stones', rocks become agents for studying planetary introspection and geological sentience - they reveal an 'inter-animating spirit of mind and matter where biological and mineral kingdoms collude'.'Figured Stones' is destined to become an important book in a new movement that acknowledges and embraces more-than-human life at a critical time in our global ecology.
The Roman Stamp
The Roman Stamp: Frame and Facade in Some Forms of Neo-Classicism by Robert M. Adams investigates how modern writers, artists, and thinkers have repeatedly turned to Rome as both a model of authority and a stage set for self-fashioning. Adams traces how figures from Mantegna and Scaliger to Swift, Piranesi, and Johnson appropriated Roman ideals--law, order, grandeur, severity--not merely as passive inheritances but as active instruments for rebirth, critique, or parody. With clarity and wit, he shows that neo-classicism was never just a glaze of marble columns or Latin tags but a creative struggle with the Roman stamp: a masculine, disciplined style imposed on the accidents of nature and personal history. Moving across art history, literary polemic, and intellectual genealogy, Adams situates neo-classicism as both a vital energy and a contested masquerade. Whether in the martial self-discipline of Mantegna's art, the biting authority of Scaliger's scholarship, or the ironic inversions of Swift and Johnson, Rome offered a repertoire of forms through which moderns dramatized self-creation. By charting these variations--rebirth, war, seduction, diffusion--The Roman Stamp reframes "neo-classicism" not as a tired formula but as a set of crisis encounters with Rome's enduring authority. The book will appeal to readers interested in classical reception, Renaissance and Enlightenment culture, and the uneasy legacy of antiquity in modern imagination. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1974.
Who Were the Greeks?
Who Were the Greeks? by John L. Myres, first delivered as the 1927 Sather Lectures, confronts a deceptively simple question: how can we define the Greeks as a people and a civilization? Myres rejects both timeless ethnic myths and romanticized self-descriptions, proposing instead a multi-disciplinary reconstruction that tests Greek traditions against modern evidence. Drawing on comparative philology, physical anthropology, prehistoric archaeology, religion, and folk memory, he offers both a portrait of Greek identity and a research agenda for its further clarification. The book argues that Greek civilization emerged not as an isolated miracle but as the most successful synthesis in a series of cultural experiments around the Aegean. Classical Greece stands on Minoan and Mycenaean foundations, combining rupture with continuity. Myres situates this achievement within larger phases of world history, each defined by human control of water and movement: river-valley irrigation cultures, the maritime "lake-land" of the Mediterranean, and, eventually, the oceanic expansions of modernity. The Greeks, he contends, were master navigators of the second phase, creating institutions and ideas Rome later protected and transmitted. Organized around the evidence for common environment, descent, language, belief, and material culture, the book builds toward an account of nation-making that fuses these strands. Myres also underscores what remains unknown, calling for systematic, coordinated excavations rather than chance-driven digs. Folk genealogies and myths, he insists, must be treated as structured clues to migration and memory, not dismissed as fictions. The result is both a historical synthesis and a methodological manifesto. Who Were the Greeks? moves the study of Greek origins away from heroic narrative and toward applied historical science, demonstrating how identity can be reconstructed through evidence, comparison, and disciplined imagination. Its framework--braiding environment, movement, language, and belief--remains a model for approaching broader questions of cultural identity: not simply "who were they?" but also "who are we, and what are we becoming?" This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1930.
The Mycenaean Origin of Greek Mythology
The last major work of the giant of the field. Martin P. Nilsson set himself the task of tracing the elements of Greekmythology, as they appear in Homer's Iliad, to their source in Mycenaean culture, a much earlier period. His conclusions, drawn from a very limited empirical material - archaeology, very few relevant Linear B texts - are remarkably compelling. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1972.
Who Were the Greeks?
Who Were the Greeks? by John L. Myres, first delivered as the 1927 Sather Lectures, confronts a deceptively simple question: how can we define the Greeks as a people and a civilization? Myres rejects both timeless ethnic myths and romanticized self-descriptions, proposing instead a multi-disciplinary reconstruction that tests Greek traditions against modern evidence. Drawing on comparative philology, physical anthropology, prehistoric archaeology, religion, and folk memory, he offers both a portrait of Greek identity and a research agenda for its further clarification. The book argues that Greek civilization emerged not as an isolated miracle but as the most successful synthesis in a series of cultural experiments around the Aegean. Classical Greece stands on Minoan and Mycenaean foundations, combining rupture with continuity. Myres situates this achievement within larger phases of world history, each defined by human control of water and movement: river-valley irrigation cultures, the maritime "lake-land" of the Mediterranean, and, eventually, the oceanic expansions of modernity. The Greeks, he contends, were master navigators of the second phase, creating institutions and ideas Rome later protected and transmitted. Organized around the evidence for common environment, descent, language, belief, and material culture, the book builds toward an account of nation-making that fuses these strands. Myres also underscores what remains unknown, calling for systematic, coordinated excavations rather than chance-driven digs. Folk genealogies and myths, he insists, must be treated as structured clues to migration and memory, not dismissed as fictions. The result is both a historical synthesis and a methodological manifesto. Who Were the Greeks? moves the study of Greek origins away from heroic narrative and toward applied historical science, demonstrating how identity can be reconstructed through evidence, comparison, and disciplined imagination. Its framework--braiding environment, movement, language, and belief--remains a model for approaching broader questions of cultural identity: not simply "who were they?" but also "who are we, and what are we becoming?" This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1930.
The Mycenaean Origin of Greek Mythology
The last major work of the giant of the field. Martin P. Nilsson set himself the task of tracing the elements of Greekmythology, as they appear in Homer's Iliad, to their source in Mycenaean culture, a much earlier period. His conclusions, drawn from a very limited empirical material - archaeology, very few relevant Linear B texts - are remarkably compelling. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1972.
The Roman Stamp
The Roman Stamp: Frame and Facade in Some Forms of Neo-Classicism by Robert M. Adams investigates how modern writers, artists, and thinkers have repeatedly turned to Rome as both a model of authority and a stage set for self-fashioning. Adams traces how figures from Mantegna and Scaliger to Swift, Piranesi, and Johnson appropriated Roman ideals--law, order, grandeur, severity--not merely as passive inheritances but as active instruments for rebirth, critique, or parody. With clarity and wit, he shows that neo-classicism was never just a glaze of marble columns or Latin tags but a creative struggle with the Roman stamp: a masculine, disciplined style imposed on the accidents of nature and personal history. Moving across art history, literary polemic, and intellectual genealogy, Adams situates neo-classicism as both a vital energy and a contested masquerade. Whether in the martial self-discipline of Mantegna's art, the biting authority of Scaliger's scholarship, or the ironic inversions of Swift and Johnson, Rome offered a repertoire of forms through which moderns dramatized self-creation. By charting these variations--rebirth, war, seduction, diffusion--The Roman Stamp reframes "neo-classicism" not as a tired formula but as a set of crisis encounters with Rome's enduring authority. The book will appeal to readers interested in classical reception, Renaissance and Enlightenment culture, and the uneasy legacy of antiquity in modern imagination. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1974.
High Culture and Tall Chimneys
This study examines how nineteenth-century industrial Lancashire became a leading national and international art centre. By the end of the century almost every major town possessed an art gallery, while Lancashire art schools and artists were recognised at home and abroad. The book documents the remarkable rise of visual art across the county, along with the rise of the commercial and professional classes who supported it. It examines how Lancashire looked to great civilisations of the past for inspiration while also embracing new industrial technologies and distinctively modern art movements. This volume will be essential reading for all those with an interest in the new industrial society of the nineteenth century, from art lovers and collectors to urban and social historians.
Before the Arts Council
This book explores the hitherto neglected history of the campaign for state funding of the arts. By focusing on the important but forgotten movements for music and drama subsidy before and during WWII, Howard Webber makes an important contribution to the history of arts subsidy. Before the Arts Council rediscovers three forgotten but influential campaigns for state support of the arts in Britain in the 1930s and wartime. Webber's impressive historical excavation challenges existing scholarship, which argues that arts subsidy was the result of the war, and instead re-situates the campaign's origins in the pre-war years. Webber does so by drawing on correspondence from influential figures including Ralph Vaughan Williams, John Maynard Keynes and J.B Priestley, along with extensive use of government papers. Before the Arts Council is a lively, compelling and scrupulously researched account of a subject consistently misunderstood and misrepresented. It changes our understanding of an aspect of British cultural history we thought we knew well. It will appeal to students of twentieth century social and political history and to anyone with a general interest in the arts and in this period.
Sex As Symbol
Full facsimile of the original edition, not reproduced with Optical Recognition software. How does gender and the sex drive manifest itself across human cultures? How is the dual nature of humanity; male and female, spiritual and physical, animal and divine; expressed in the tangible world? Alvin Boyd Kuhn, a prominent proponent of the early 20th-century doctrine of theosophy, which sought to find the universal truths that underlie all human religions, here explores the hidden connections across cultures that unify rites and customs found around the globe: circumcision, the secondary status of women, myths about communion with deities, and more. This treatise seeks to uncover a fundamental basis for human ideas about sex, gender, and love.
Cats in Spring Rain
This delightful little book pays homage to the cat through artfully curated Japanese poetry and prints. No one captures the graces and idiosyncrasies of cats quite like the painters, printmakers, and haiku masters of Japan. From the Edo to the Showa period, many artists turned their gaze toward an unlikely subject: their small feline companions. Closely observed portraits in words ad ink elevate the everyday adventures of cats: taking a nap on a Buddha statue's lap, daintily eating a rice ball, courting the neighbor's cat. This curated collection of poems, prints, and paintings will leave you inspired to cultivate the serenity and wonder embodied by these creators--and by the cats themselves. Presented as a sweet, jacketed paperback with thoughtful design touches, this volume includes each poem in both English and Japanese. THE ORIGINAL CAT LOVERS: Centuries before the emergence of cat memes and cat cafes, Japanese artists and writers perfected the practice of feline reverence. Cats played pivotal roles in folklore; they were the protectors of scriptures and symbols of good luck and wealth. They also proved to be a wonderful source of creative inspiration. This little compendium showcases Japan's rich cultural heritage. UNIQUE GIFT: Surprise your cat-loving friends and family with this unusual twist on the cat-themed gift. PERFECT FOR POETRY LOVERS: Whether they came to poetry through the works of Instagram poets, or have been reading the classics for decades, any lover of verse will enjoy this thoughtfully curated collection. The writers featured include Bashō, Chiyo-ni, Issa, Shiki, and more--all icons of the haiku form. ENCHANTING ART: Hokusai, Hiroshige, Yoshitoshi, and more: These artists masterfully captured the personalities of cats and their humans. These images, with their delicate lines and soothing colors, have endured through time to bring us quiet joy. Perfect for: - Cat lovers- Poets and poetry readers- Artists and art lovers- Anyone who appreciates Japan's arts and culture
A Time of One’s Own
In A Time of One's Own Catherine Grant examines how contemporary feminist artists are turning to broad histories of feminism ranging from political organizing and artworks from the 1970s to queer art and activism in the 1990s. Exploring artworks from 2002 to 2017 by artists including Sharon Hayes, Mary Kelly, Allyson Mitchell, Deirdre Logue, Lubaina Himid, Pauline Boudry, and Renate Lorenz, Grant maps a revival of feminism that takes up the creative and political implications of forging feminist communities across time and space. Grant characterizes these artists' engagement with feminism as a fannish, autodidactic, and collective form of learning from history. This fandom of feminism allows artists to build relationships with previous feminist ideas, artworks, and communities that reject a generational model and embrace aspects of feminism that might be seen as embarrassing, queer, or anachronistic. Accounting for the growing interest in feminist art, politics, and ideas across generations, Grant demonstrates that for many contemporary feminist artists, the present moment can only be understood through an embodied engagement with history in which feminist pasts are reinhabited and reimagined.
A Time of One’s Own
In A Time of One's Own Catherine Grant examines how contemporary feminist artists are turning to broad histories of feminism ranging from political organizing and artworks from the 1970s to queer art and activism in the 1990s. Exploring artworks from 2002 to 2017 by artists including Sharon Hayes, Mary Kelly, Allyson Mitchell, Deirdre Logue, Lubaina Himid, Pauline Boudry, and Renate Lorenz, Grant maps a revival of feminism that takes up the creative and political implications of forging feminist communities across time and space. Grant characterizes these artists' engagement with feminism as a fannish, autodidactic, and collective form of learning from history. This fandom of feminism allows artists to build relationships with previous feminist ideas, artworks, and communities that reject a generational model and embrace aspects of feminism that might be seen as embarrassing, queer, or anachronistic. Accounting for the growing interest in feminist art, politics, and ideas across generations, Grant demonstrates that for many contemporary feminist artists, the present moment can only be understood through an embodied engagement with history in which feminist pasts are reinhabited and reimagined.
Democracy’s Medici
Democracy's Medici: The Federal Reserve and the Art of Collecting is a profile of the central bank seen from the perspective of the author's unorthodox art-historical career as founding Director of the Fine Arts Program of the Board of Governors of the Federal Reserve System.This is an insider's view by an art historian about the Federal Reserve culture, larger-than-life personalities, and the fine arts function set against the broader backdrop, both of the Fed's banking and regulatory mission, and the economic, political, and social context. During her 31-year tenure, Goley organized over 110 exhibitions on a range of subjects from New York Graffiti artists to the first U.S. exhibit of Charles Rennie Mackintosh. Adding a diplomatic mission to her portfolio, beginning in 1988, Goley worked with central banks and museums in Austria, Greece, Hungary, Israel, Poland, Romania, Spain, Switzerland, and The Netherlands to bring exhibits to the Federal Reserve. Scholarly contributions included the exhibitions: The Hague School and Its American Legacy, The Paintings of Eduard J. Steichen, AustrianBiedermeier, and Polish Constructivism, among others. Two exhibitions resulted in foreign decorations from The Netherlands and Luxembourg. In 2006 Goley organized The Face of Contemporary Art in China, the first of its kind in Washington, DC, for the Federal Reserve Board. She was twice knighted, in 1982 by Queen Beatrix of The Netherlands and in 1988 by the Grand Duke of Luxembourg. With little guidance, she built a remarkable art collection where there was none. J. Carter Brown, Director of the National Gallery of Art, wrote of the Fed's program, "It is a model for others in our field to see someone take a challenge and make so much of it." You can find an interview with the author herehttps: //www.youtube.com/watch?v=m40d0sTQEec.
The Fate of the Animals
In 1913, Franz Marc, one of the key figures of German Expressionism, created a masterpiece: The Fate of the Animals. With its violent slashes of color and line, the painting seemed to pre-figure both the outbreak of World War I and, more eerily, Marc's own death in an artillery barrage at the Battle of Verdun three years later. With his signature blend of wide-ranging erudition and lively, accessible prose, Morgan Meis explores Marc's painting in depth, guided in part by a series of letters Marc wrote to his wife Maria while he was a soldier in the war. In those letters, Marc explores the nature of art, the fate of European civilization, and the inner spiritual nature of all life. Along the way, Meis brings in other artists such as D.H. Lawrence, Edgar Degas, and Paul Klee to flesh out his argument. The Fate of the Animals also explores the darker undercurrents of German apocalyptic thinking in Marc's time, especially Norse mythology and the ancient Vedic texts as they influenced Schopenhauer, Nietzsche, and Heidegger. The Fate of the Animals is the second volume of Meis's Three Paintings Trilogy, the first volume of which, The Drunken Silenus, examined a painting by Rubens. The third volume (forthcoming) will consider a painting by Joan Mitchell.
An Architecture of Chance - Une Architecture de Hasards
This book, these images, were born from a symbiotic experimentation of a few weeks with an artificial intelligence device. From which it should not be concluded that they owe their luxuriance solely to the artificial imagination. Let those who believe so much in the virtues of machines take the trouble to try it out for a few hours or a few days, before coming to loudly proclaim some false conclusion. Without the talent of the artist, how could an innocent machine know how, at times, to revive in us some of our ancestral terrors? How could it speak in such a suave and convincing voice to the very subtle twists and desires of our unconscious? As for the text, it came out of the same symbiotic intrigues, sometimes serving as food and a bait for the wanderings of the image generator, other times arising from the images themselves or according to the ordinary rules of automatic writing and yet other times from a combination of the three. ------------------------------------------------------------------------------------------------------ Ce livre, ces images, sont n矇s d'une exp矇rimentation symbiotique de quelques semaines avec un dispositif d'intelligence artificielle. De quoi il ne faut pas conclure qu'elles ne doivent leur luxuriance qu'? la seule imagination artificielle. Que ceux qui croiraient ? ce point aux vertus des machines veuillent bien se donner la peine de t璽ter de la chose quelques heures ou quelques jours, avant d'en venir ? clamer bruyamment quelque conclusion... fausse. Sans le talent de l'artiste, comment une innocente machine saurait-elle par instants faire revivre en nous certaines de nos terreurs ancestrales? Comment pourrait-elle parler d'une voix aussi suave et convaincante aux tr癡s subtils d矇tours et aux d矇sirs de nos inconscients? Quant au texte, il s'est trouv矇 issu des m礙mes men矇es symbiotiques, parfois servant de p璽ture et d'amorce aux errances du g矇n矇rateur d'images, d'autres fois surgi des images elles-m礙mes ou selon les r癡gles ordinaires de l'矇criture automatique et d'autres fois encore d'une conjugaison des trois.
Modern Negro Art Hardcover
Porter's work analyzes the important developments and individuals in African American painting and sculpture from the pre-Civil War period to World War II. "James A. Porter was an art historian, educator, curator, and visual artist. He is first remembered by academics as an art historian who taught some of the best minds and visual artists who studied at Howard University during the span of his teaching career. "A pioneer in establishing the field of African American art history," writes Jeffreen M. Hayes, who rightly declares that: James A. Porter was instrumental as the first scholar to provide a systematic, critical analysis of African American artists and their works of art. An artist himself, he provided a unique and critical approach to the analysis of the work. Dedicated to educating and writing about African American artists, Porter set the foundation for artists and art historians to probe and unearth the necessary skills essential to their artistic and scholarly endeavors. The canon is borne from Porter's determination to document and view African American art in the context of American art."
Sugar Skull Illustrations
This is an advanced book of mandala illustrations that features 20 different Skulls, Mandalas, and other random pieces. All of the illustrations featured in this book are original and have very complex details that are tailored to the advanced coloring-book community. - Features hours of coloring time - Opposing pages for doodling or color experimentation or note taking - Coloring books have been used as therapeutic methods of relaxation - 80# paper. Made thicker for more coloring mediums
Ono-Isms
A powerful collection of quotations from iconic artist and activist Yoko Ono Ono-isms is a collection of provocative and powerful quotations from influential artist, musician, songwriter, and peace activist Yoko Ono, providing a richer understanding of this important cultural icon. Since emerging on the international art scene in the early 1960s, Ono has made profound contributions to visual and performance art, filmmaking, and music in work that often radically questions the division between art and the everyday. In recent years she has embraced social media to communicate her artistic and activist messages to even broader audiences around the world. Gathered from interviews, books, song lyrics, social media, and other sources, this nuanced book sheds new light on a complex and multifaceted artist who has shaped our culture in countless ways. The quotations--close to 300 in all--are arranged by subject: art, life, creativity, nature and the environment, love, music, women in society, and peace and social justice. The book also features an introduction and a chronology of Ono's life and work."I've never seen a line between music and art and performance. And that's a problem for some people.""I think that all women are witches, in the sense that a witch is a magical being. And a wizard, which is a male version of a witch, is kind of revered, and people respect wizards. But a witch, my god, we have to burn them.""I think if you have a persona you show the world that's separate from your true personality, the strain becomes too much. What [John Lennon and I] decided was just to be ourselves. We didn't have a conference about it or anything. It's just the most relaxing way to be.""I can take hatred, because I don't believe that people are capable of real hate. We are too lonely for that. We vanish too quickly for that. Do you ever hate a cloud?""Concentrate your mind on giving, loving, and thanking. Each time you give, you are in less pain. Give as much as you can. Find something you can love. Love as much as you can. Thank as much as you can."
