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This book focuses on the extraordinary Bute Collection at Mount Stuart and its illustrious history. John Stuart, 3rd Earl of Bute, was one of history's most enthusiastic art collectors. As tutor to Prince George, Bute became indispensable to the royal household. Soon after his accession to the throne, the King made Bute Prime Minister--a career that was cut short after the Peace of Paris in 1763. Forced out of London by an angry mob, Bute retired to an estate at Luton, where he spent the rest of his years in private study and amassing a collection of 500 paintings, including major works by Venetian painters such as Tintoretto, Bordone, and Veronese. Bute had a special interest in Dutch and Flemish pictures, building the greatest collection of its kind in Britain. This book features over thirty masterpieces, mainly genre paintings and landscapes, and including jewel-like landscapes by Brueghel and Savery. The collection is housed at the Bute family's Scottish seat, Mount Stuart, on the Isle of Bute. Essays by leading scholars delve into the history of Bute's collection, focusing on his relationship with King George III, and his wide ranging passions, which resulted in rooms filled floor to ceiling with works of art.

Australia's Impressionists focuses on the paintings of Tom Roberts, Arthur Streeton, Charles Conder, and John Peter Russell. All were key players in a distinctively Australian art movement that drew on influences ranging from Whistler's subtle Nocturnes to the European tradition of plein air painting, and revealed Russell (who spent his working life in France, embedded in the avant garde) as one of the outstanding colorists of his time. This beautiful book challenges our preconceptions of what is meant by Impressionism, enriches our understanding of Australian art, and reveals the international nature of art-historical movements and exchanges in the 19th century. The story is framed by unmistakably Australian subjects and locations, by a preoccupation with light and color, and in the context of Australian identity and sense of nationhood.  Published by the National Gallery Company, London/Distributed by Yale University Press Exhibition Schedule: National Gallery, London (12/07/16-03/26/17)

Michael Doran has gathered texts by contemporaries of Paul C#65533;zanne (1839-1906)--including artists, critics, and writers--that illuminate the influential painter's philosophy of art especially in his late years. The book includes historically important essays by a dozen different authors, including Emile Bernard, Joaquim Gasquet, Maurice Denis, and Ambroise Vollard, along with selections from C#65533;zanne's own letters. In addition to the material included in the original French edition of the book, which has also been published in German, Italian, Spanish, and Japanese, this edition contains an introduction written especially for it by noted C#65533;zanne scholar Richard Shiff. The book closes with Lawrence Gowing's magisterial essay, "The Logic of Organized Sensations," first published in 1977 and long out of print. C#65533;zanne's work, and the thinking that lay behind it, have been of inestimable importance to the artists who followed him. This gathering of writings will be of enormous interest to artists, writers, art historians--indeed to all students of modern art.

Degas is renowned for his masterful studies of the human body - powerfully rendered paintings of dancers, jockeys, washerwomen, and bathers. It is less well known, however, that he also produced challenging and varied landscapes at almost every phase of his career - from this early travels in Italy, to his association with the impressionist movement, and to into his final decades. Remarkably, Degas chose the subject of landscape for his only one-person show in 1892.

French artist Eugène Henri Paul Gauguin (1848-1903) once reproached the Impressionists for searching "around the eye and not at the mysterious centre of thought." But what did he mean by this enigmatic phrase? In this innovative investigation into Gauguin's art and thought, Dario Gamboni illuminates Gauguin's quest for this "mysterious centre" and offers a fresh look at the artist's output in all media--from ceramics and sculptures to prints, paintings, and his large corpus of writings.             Foregrounding Gauguin's conscious use of ambiguity, Gamboni unpacks what the artist called the "language of the listening eye." Gamboni shows that the interaction between perception, cognition, and imagination was at the core of Gauguin's work, and he traces a line of continuity in them that has been previously overlooked. Emulating Gauguin's wide-ranging curiosity with literature, psychology, theology, and the natural sciences--not to mention the whole of art history--this richly illustrated book provides new insight into the life and works of this well-known yet little understood artist.

"The text by Peter H. Hassrick and Elizabeth J. Cunningham draws on Blumenschein's papers as well as other archival sources to explore in depth the dimensions of his multifaceted life and his place in American history and culture. They examine his sixty-four-year artistic career, first as an illustrator and then a painter, revealing how his technique evolved and how his schooling and the artistic movements of his time informed his work. The authors demonstrate how Blumenschein's musical training profoundly influenced his painting, and they address issues overlooked in previous studies, such as Blumenschein's pivotal role in helping to preserve American Indian culture. Additional contributions by noted art historians focus on particular paintings, such as Superstition (1921) and Jury of the Trial of a Sheepherder for Murder (1936), and particular aspects of the artist's work, including modernism and his promotion of American Indian rights." "In Contemporary Rhythm shows that, far from simply a western painter, Blumenschein is a major figure in twentieth-century American art, bridging traditionalism and modernism. As the only book of its kind available on this influential artist, it is a major contribution to American art history. It is also a visual feast."--BOOK JACKET.

The British Museum's collection is one of the world's finest and broadest, ranging from prehistoric times to the present in ancient and modern cultures around the globe. This new and updated edition includes many recent acquisitions and new discoveries, such as Picasso's stunning Vollard Suite and the intriguing Vale of York Viking hoard, and showcases a selection of more than 250 of the most beautiful and important objects drawn from across the Museum. Each object is presented with its own fascinating story and is strikingly illustrated in full colour. From the Warren Cup to Dürer's Rhinoceros, the Lewis Chessmen to the Aztec turquoise serpent and the Gayer-Anderson Cat, the iconic objects of the British Museum are here presented in an exciting and accessible new way, highlighting the superb craftsmanship and ingenuity of those who created each of these splendid pieces. Grouped into sections based on cross-cultural themes, such as rulers, mythical beasts, dress and the human form, the resulting juxtapositions offer intriguing new insights into these widely varied masterpieces. Introduced by Neil MacGregor, former Director of the British Museum, this is a stunning overview of artistic and cultural achievement around the world.

Monet never travelled to Japan, but he surrounded himself with a large collection of Japanese woodblock prints. Like a number of other Parisians, he first collected Japanese prints in the 1860s. He shared the European view of Japanese culture as supremely artistic, shaped by the refined aesthetic tastes of its people, in harmony with its legendary beauty. As early as the 1870s, critics were writing about the influence of Japanese art on Monet's Impression. Monet and Japan shows how Japanese prints and paintings helped to shape Monet's art during six decades, influencing not only his style and subject matter, but the very way he saw the world around him. It includes Japanese prints and paintings that we know Monet saw, or could have seen, or works very like them. The book also contains Monet's paintings of his pays, that part of France which he knew best, where he was born and brought up'the Seine Valley from Le Havre on the Norman coast to Paris. It is in his paintings of the landscapes that he knew intimately that one can best observe how Monet used Japanese art to shape his vision of his world.

A detailed overview of the innovation and ambition that drove one of the best-known Impressionist painters at the end of his career In the later years of his life, Claude Monet (1840-1926) stayed close to home, turning to his extraordinary garden at Giverny for inspiration. The garden became a laboratory for the artist's concentrated study of natural phenomena--and for a revolutionary shift in the appearance and execution of his paintings. This beautiful publication examines the last phase of Monet's career, beginning in 1913, bringing together approximately 60 of his greatest works from this period. More specifically, Monet: The Late Years focuses on the series that Monet invented and reinvented at Giverny, reevaluating many large-scale works that have long been considered preparatory studies, reexamining their relationship to and status as finished works. Essays by a roster of distinguished scholars address topics such as Monet's plans for displaying his late paintings, the mechanics of his painting technique, and the critical and market reception of these works. Through this visually stunning reassessment, Monet's late works, still astonishing a century later, recast the titan of Impressionism as a radical modern painter. Distributed for the Kimbell Art Museum Exhibition Schedule: Fine Arts Museums of San Francisco (02/16/19-05/27/19) Kimbell Art Museum, Fort Worth, TX (06/16/19-09/15/19)

The arts of Islam, a great and ancient culture, are presented here in all their astonishing richness and diversity. From the Middle East came the earliest astrological clocks, the finest ceramics and lusterware, the development of calligraphy and Arabic scripts, and the intricate craft of carpet-weaving, among many other profoundly significant cultural developments. This cradle of empires was also a vibrant commercial center, exporting raw materials, skills, and techniques to surrounding lands and spreading its web of influence from southern Spain to northern India. This beautifully illustrated book provides a fascinating introduction to Islamic art and culture, drawing from the world-famous collections at the Victoria and Albert Museum. It accompanies an exhibition touring to the National Gallery of Art in Washington, D.C., and the Kimbell Art Museum in Fort Worth.

The aims and meanings of Seurat's painting Bathers at Asnieres is examined in this text from a range of different viewpoints. As background, the authors describe Seurat's academic training, the development of his drawing and his early interest in plein-air oil sketching and Impressionism.

This is the first work to document the life and career of Dallas architect Mark Lemmon, a pre-eminent American historicist. It is an illustrated testament to Lemmon's ideas of architectural civility, solidity, and classicism--considered retrograde by many architectural historians, though taking on a renewed relevance after the post-modernist revisionism of the 1970s. Having completed his architectural education at MIT and a tour of duty as a military engineer in Europe during World War I, Lemmon, a Texas native, moved to Dallas and began a distinguished career spanning forty years from the 1920s to the 1960s. Lemmon's greatest contributions to Texas architecture were his designs for educational and religious institutions. His most important clients were the Dallas Independent School District, Southern Methodist University (for which he designed eighteen Georgian style buildings), the Port Arthur School District, and the University of Texas at Austin. In styles that vary from Romanesque to Moderne, these buildings define their neighborhoods and place their users in a system of civilized architectural allusions that raises the level of urban culture. Few Texas architects matched the range of Lemmon's ecclesiastical architecture. His master works include Highland Park United Methodist Church (1927), Third Church of Christ, Scientist (1930), and Highland Park Presbyterian Church (1939). His other projects include the Cotton Bowl, the Museum of Natural History, the Hall of State, the Art Deco Great Hall, and the Hall of Heroes--all at Dallas's Fair Park. The volume contains an essay by Richard R. Brettell placing Lemmon as historicist in the context of a modernist century, as well as a critical biography of the architect by Willis Cecil Winters with a chronological list of buildings and projects by the team of DeWitt and Lemmon (1921-1926) and later by Mark Lemmon (1926-1964).

216-page, hardcover book detailing the special architectural features fround in the Dallas metropolitan area. The book features beautifully reproduced photography and incisive editorial illustrating the exceptional examples of unique architecture found in this Texas community

Winner, Book Prize in Latin American Studies, Colonial Section of Latin American Studies Association (LASA), 2016 ALAA Book Award, Association for Latin American Art/Arvey Foundation, 2016 The capital of the Aztec empire, Tenochtitlan, was, in its era, one of the largest cities in the world. Built on an island in the middle of a shallow lake, its population numbered perhaps 150,000, with another 350,000 people in the urban network clustered around the lake shores. In 1521, at the height of Tenochtitlan's power, which extended over much of Central Mexico, Hernando Cortés and his followers conquered the city. Cortés boasted to King Charles V of Spain that Tenochtitlan was "destroyed and razed to the ground." But was it? Drawing on period representations of the city in sculptures, texts, and maps, The Death of Aztec Tenochtitlan, the Life of Mexico City builds a convincing case that this global capital remained, through the sixteenth century, very much an Amerindian city. Barbara E. Mundy foregrounds the role the city's indigenous peoples, the Nahua, played in shaping Mexico City through the construction of permanent architecture and engagement in ceremonial actions. She demonstrates that the Aztec ruling elites, who retained power even after the conquest, were instrumental in building and then rebuilding the city. Mundy shows how the Nahua entered into mutually advantageous alliances with the Franciscans to maintain the city's sacred nodes. She also focuses on the practical and symbolic role of the city's extraordinary waterworks--the product of a massive ecological manipulation begun in the fifteenth century--to reveal how the Nahua struggled to maintain control of water resources in early Mexico City.

With the role of the landscape architect increasing as it is in importance, this first comprehensive survey of the art and practice of landscape architecture fills a great need. Norman T. Newton has included over 400 illustrations in his book, which conveys a basic understanding of the aims and scope of landscape architecture and offers visual analyses of major historic works, each in the context of its own time. The first third of the study is concerned with landscape architecture in the Western world, mainly Europe, from ancient times to the mid-nineteenth century. But the major part of the work is devoted to the development of landscape architecture in the century that has passed since it acquired the status of a profession and an independent discipline. Concentrating primarily on the United States, Mr. Newton reviews his subject from its beginnings in colonial days to the work of Olmsted, Vaux, Cleveland, Weidenmann, Eliot, Platt, and the founders of the American Society of Landscape Architects. He discusses the Columbian Exposition of 1893, the "City Beautiful" movement and the growth of city planning, the Country Place Era, town planning in England and America, American national and state parks, parkways, urban open spaces, and recent variations in professional practice. Mr. Newton concludes his book with a timely discussion of the vital role that landscape architecture plays in the conservation of natural resources and in protection of the environment.

A book about architecture and society, a wide-ranging cultural and historical depiction of successful Jewish entrepreneurs in an increasingly industrialized Europe, from the dissolution of the ghetto and the 1848 liberation movement to Hitler's assumption of power in Germany. Inspired by Jewish messianism, they pursued a modern culture, free from the old feudal society. The principal characters are bankers, merchants, and industrialists together with their architects, from Schinkel and Semper to Mies van der Rohe and Le Corbusier. They build in Paris, Berlin, and Vienna, Budapest and New York, and in more remote centers of Jewish entrepreneurial activity, such as Oradea (Nagyvarad) in present-day Romania and Lodz in Poland, Stockholm and Gothenburg in Sweden. The buildings shed new light on the Europe of today, but also on a Europe that is lost beyond recall.

A "smoothly written and fair-minded" (Wall Street Journal) biography of architect Philip Johnson -- a finalist for the National Book Critic's Circle Award. When Philip Johnson died in 2005 at the age of 98, he was still one of the most recognizable and influential figures on the American cultural landscape. The first recipient of the Pritzker Prize and MoMA's founding architectural curator, Johnson made his mark as one of America's leading architects with his famous Glass House in New Caanan, CT, and his controversial AT&T Building in NYC, among many others in nearly every city in the country -- but his most natural role was as a consummate power broker and shaper of public opinion. Johnson introduced European modernism -- the sleek, glass-and-steel architecture that now dominates our cities -- to America, and mentored generations of architects, designers, and artists to follow. He defined the era of "starchitecture" with its flamboyant buildings and celebrity designers who esteemed aesthetics and style above all other concerns. But Johnson was also a man of deep paradoxes: he was a Nazi sympathizer, a designer of synagogues, an enfant terrible into his old age, a populist, and a snob. His clients ranged from the Rockefellers to televangelists to Donald Trump. Award-winning architectural critic and biographer Mark Lamster's The Man in the Glass House lifts the veil on Johnson's controversial and endlessly contradictory life to tell the story of a charming yet deeply flawed man. A rollercoaster tale of the perils of wealth, privilege, and ambition, this book probes the dynamics of American culture that made him so powerful, and tells the story of the built environment in modern America.

Since its first publication in 1982, Modern Architecture Since 1900 has become established as a contemporary classic. Worldwide in scope, it combines a clear historical outline with masterly analysis and interpretation. Technical, economic, social and intellectual developments are brought together in a comprehensive narrative which provides a setting for the detailed examination of buildings. Throughout the book the author's focus is on the individual architect, and on the qualities that give outstanding buildings their lasting value. For the third edition the text has been radically revised and expanded, incorporating much new material and a fresh appreciation of regional identity and variety. Almost every chapter has been expanded and updated, and seven chapters are entirely new, including the whole of Part Four, which covers recent world architecture. Described by James Ackerman of Harvard University as 'immeasurably the finest work covering this field in existence', this book presents a penetrating analysis of the modern tradition and its origins, and traces the creative interaction between old and new that has generated such an astonishing richness of architectural forms throughout the century.

Looking closely at several buildings in Europe, Japan and America, this book sets out to define monolithic architecture in its larger context, searching for its physical and conceptual roots in earlier times and proposing reasons why such structures provoke emphatic public response.

In 1981, the Filipino artist and curator Raymundo Albano adopted the expression "Suddenly Turning Visible" to describe the rapid transformation of Manila's urban landscape. The visibility that Albano evoked was aspirational, driven by a desire for rapid economic growth in which art had a critical role. This catalogue traces this story through three influential art institutions: The Cultural Centre of the Philippines, the Alpha Gallery in Singapore, and the Bhirasri Institute of Modern Art in Bangkok. It presents in rich detail artworks from the period, an anthology of primary documents, and interviews with curators, artists and architects, revealing the links between architecture, modern art and the role of institutions in Southeast Asia.

This title presents a meticulously detailed account of the many architectural orientations of the last 100 years. The book moves beyond modernism and explores a broad spectrum of styles.

What is art history? Why, how and where did it originate, and how have its aims and methods changed over time? The history of art has been written and rewritten since classical antiquity. Since the foundation of the modern discipline of art history in Germany in the late eighteenth century, debates about art and its histories have intensified. Historians, philosophers, psychologists and anthropologists among others have changed our notions of what art history has been, is, and might be. This anthology is a guide to understanding art history through a critical reading of the field''s most innovative and influential texts over the past two centuries. Each section focuses on a key issue: aesthetics, style, history as an art, iconography and semiology, gender, modernity and postmodernity, deconstruction and museology. More than thirty readings from writers as diverse as Winckelmann, Kant, Gombrich, Warburg, Panofsky, Heidegger, Lisa Tickner, Meyer Schapiro, Jacques Derrida, Mary Kelly, Michel Foucault, Rosalind Krauss, Louis Marin, Margaret Iversen and Nestor Canclini are brought together, and Donald Preziosi''s introductions to each topic provide background information, bibliographies, and critical elucidations of the issues at stake. His own concluding essay is an important and original contribution to scholarship in the field.

In the first comprehensive study of Jewish identity and its meaning for the history of art, eleven influential scholars illuminate the formative role of Jews as subjects of art historical discourse. At the same time, these essays introduce to art history an understanding of the place of cultural identity in the production of scholarship. Contributors explore the meaning of Jewishness to writers and artists alike through such topics as exile, iconoclasm, and anti-Semitism. Included are essays on Anselm Kiefer and Theodor Adorno; the effects of the Enlightenment; the rise of the nation-state; Nazi policies on art history; the criticism of Meyer Schapiro, Clement Greenberg, and Aby Warburg; the art of Judy Chicago, Eleanor Antin, and Morris Gottlieb; and Jewish patronage of German Expressionist art. Offering a new approach to the history of art in which the cultural identities of the makers and interpreters play a constitutive role, this collection begins an important and overdue dialogue that will have a significant impact on the fields of art history, Jewish studies, and cultural studies.

This extraordinary publication presents, for the first time, the samurai armor collection of the Ann and Gabriel Barbier-Mueller Museum in Dallas. The Barbier-Mueller has selectively amassed these pieces of armor over the past twenty-five years, ultimately forming one of the largest and most important collections of its kind in the world. It is composed of nearly three hundred objects, several of which are considered masterpieces, including suits of armor, helmets, masks, horse armor, and weaponry. The objects date from the 12th to the 19th century, with a particularly strong focus on Edo-period armor. Offering an exciting look into the world of the samurai warrior, the book begins with an introduction by Morihiro Ogawa. Essays by prominent scholars in the field highlight topics such as the phenomenon of the warrior in Japan, the development of the samurai helmet, castle architecture, women in samurai culture, and Japanese horse armor. The book's final section consists of an extensive catalogue of objects, concentrating on 120 significant works in the collection. Lavishly illustrated in full color, each object is accompanied by an entry written by a scholar of Japanese armor.

A sequel to the pioneering volume, Feminism and Art History: Questioning the Litany, published in 1982, The Expanding Discourse contains 29 essays on artists and issues from the Renaissance to the present, representing some of the best feminist art-historical writing of the past decade. Chronologically arranged, the essays demonstrate the abundance, diversity, and main conceptual trends in recent feminist scholarship.

This book provides an overview of the uses of turquoise in native arts of the Southwest, beginning with the earliest people who mined and processed the stone for use in jewellery, on decorative objects, and as a powerful element in ceremony. In the past, as now, turquoise was valued for its color and beauty but also for its symbolic nature: sky, water, health, protection, abundance. The book traces historical and contemporary jewellery made by Navajo, Zuni, Hopi, and Santo Domingo artisans, and the continuously inventive ways the stone has been worked.

Who first introduced Manolo Blahnik to Americans: Vogue, or a canny buyer at Bendel's? Where under one roof can shoppers find Chanel, Yves Saint Laurent, Prada, and Hermès? Here are the great retail palaces--from Harrods to Barneys to Galeries Lafayette--where shoppers spend their day in opulent settings, drifting from cosmetics to shoes, stopping for lunch, the hairdresser, and endless temptations along the way. With photographs and ephemera from all over the world, this lavish book goes beyond in-store extravaganzas to the history of these consumer institutions, the personalities behind them, their vast range of goods, unique architecture, advertising, and associated sociological trends. With perfumed air and chandeliers, department stores have lured millions for over a century with that enticing, dizzying sense that no matter how much you already have, there is always more. Praise for The World of Department Stores: "Since my visits as a child to La Opera Department Store in Santo Domingo, I have believed that the best department stores are merchants not of clothing or shoes or cosmetics but of dreams. Whitaker's book is a remarkable around-the-world look at these dream factories. It is an invaluable resource to anyone interested in the business of retailing and to shoppers everywhere."--Oscar de la Renta "The World of Department Stores is essential reading for anyone who wants to understand the foundations of the urban experience in the West and the department store as the ultimate expression of the needs of the rising middle class and its tastes." ­--Leonard Lauder, Chairman Emeritus, The Estée Lauder Companies Inc.   "I have nothing but good memories about the many department stores that played an important part in my business, [and] I warmly welcome the publication of this wonderful and unique book on department stores throughout the world." --Hubert de Givenchy "The birth of the department store in the late 19th century brought everything glamorous together under one roof--from inviting, intelligent architecture and design to the latest fashions. Jan Whitaker's The World of Department Stores looks back to the biggest and brightest shops-- including the belle epoque splendor of Paris's Bon Marché, the block-long, palatial GUM in Moscow; and the always outrageous holiday windows at Barneys New York." -Elle Décor "In photos and art, this visual feast details the extraordinary history of the world's "great retail palaces" from the past century. With authoritative and informative text." -Sacramento Bee "Illustrated with photos of window displays, catalog covers and the Gilded Age architecture of institutions from Philadelphia's long-gone Wanamaker's to Paris's still-strong La Samaritaine, The World of Department Stores makes a worthwhile gift for the history, sociology or shopping buff on your list. " -Washington Post