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One man's wild, lifelong adventure of testing society's boundaries through his subversive art, FAR OUT ISN'T FAR ENOUGH combines traditional documentary storytelling with original animation culled from seven decades worth of art from the renegade children's book author and illustrator. Using a palette of 20th century events to paint an artist's epic yet controversial life story, the film offers a retrospective of Ungerer's life and art, and ponders the complexities and contradictions of a man who, armed with an acerbic wit, an accusing finger and a razor sharp pencil, gave visual representation to the revolutionary voices during one of the most tantalizing and dramatic periods in American history

Rough, raw and unapologetically inspirational, LET FURY HAVE THE HOUR is a charged journey into the heart of the creative counter-culture. In a time of global challenges, big questions and by-the-number politics, this upbeat, outspoken film tracks the story of the artists, writers, thinkers and musicians who have gone underground to re-imagine the world - honing in on equality, community and engaged creativity - in exuberantly paradigm-busting ways. Writer/director Antonio D'Ambrosio unites 50 powerful, of-the-moment voices - from street artist Shepard Fairey to rapper Chuck D to playwright Eve Ensler to musicians Tom Morello and Billy Bragg to novelist Edwidge Danticat to filmmaker John Sayles to comic Lewis Black - who share personal and powerful tales of how they transformed anger and angst into provocative art and ideas. D'Ambrosio presents a visceral portrait of a generation looking to re-jigger a system that has failed to address the most pressing problems of our times

The Michael Donald Brown papers contains correspondence with various Asian American artists and their estates. The materials include photographs, exhibition flyers and catalogs, newspaper clippings, artists' biographical information, booklets, research notes, exhibition history, condition reports, acquisition statements, loan agreements, provenance information, and other materials. Many of the photographs of artwork have provenance information on the back: title and date of the work, purchase or sale price, name of the artist, dimensions, medium, about the title of the work, the artist, dimensions, and other information. The collection is in original order and is primarily ordered alphabetically by artist. There is significant correspondence with Masatoyo Kishi, James Leong, Ruth Asawa (including an origami frog), Irene Poon, Hisako Hibi, Mine Okubo, Harry Wang, Tyrus Wong, Koho Yamamoto, Noriko Yamamoto and others.

• 1. Interreligious Dialogue in a Changing World
• 2. Reflexive Religiosities and Complex Otherness
• 3. A Creative Perspective on Interreligious Dialogue
• 4. A Dialogue of Souls: Jordi Savall
• 5. Exploring Estrangement: Susanne Levin
• 6. Only the Idea of Snow is White: Marita Liulia
• 7. When Language is Not Enough: Chokri Mensi
• 8. Beauty is a Hole in the Wall: Cecilia Parsberg
• 9. Inhabiting a Mystery: Eric-Emmaneul Schmitt
• 10. Conclusions: The Art of Dialogue Notes Bibliography.
• (source: Nielsen Book Data)

'Art and Belief' explores communication between faiths through an examination of contemporary artistic practice. The book discusses how a range of artists formulate their worldview and what motivates them to engage in dialogue. These artists are engaged in a wide range of artistic forms and practice and come to dialogue from diverse religious positions. The aim of the book is to question the assumptions of interreligious dialogue as a largely intellectual exercise in defining the religious "other" and to explore dialogue as a manifestation of interpersonal ethics.
(source: Nielsen Book Data)

"John Clerk of Eldin...was one of many remarkable individuals who made their mark in 18th century Scotland, in a period known as the Age of Enlightenment....Part of Clerk of Eldin's legacy is the 100 and more landscape etchings that he made between 1770-1778/9....Clerk's etchings reflect a growing new appreciation of Scotland and its historical landscape, from both within and without the nation."--Front inside flap of dust jacket

An interview with Laurie Anderson, an American avant-garde artist, composer, musician and film director whose work spans performance art, pop music, and multimedia projects

An acclaimed photographer with the eye of a filmmaker, Gregory Crewdson has created some of the most gorgeously haunting pictures in the history of the medium. His meticulously composed, large-scale images are stunning narratives of small-town American life-moviescapes crystallized into a single frame. BRIEF ENCOUNTERS beautifully bares the artist's process-and it's as mesmerizing and riveting as the images themselves. Nominated for a Documentary Spotlight Award at the **SXSW Film Festival.** Winner of the Maysles Brothers Award for Best Documentary at the **Denver Film Festival.** "*A finely sketched portrait of the artist's unlikely pursuit of perfection.*" - Michelle Orange, ***Village Voice***

"Drew: the man behind the poster" is a feature-length documentary film highlighting the career of poster artist Drew Struzan, whose most popular works include the Indiana Jones, Back to the future and Star wars movie posters. Telling the tale through exclusive interviews with George Lucas, Harrison Ford, Michael J. Fox, Frank Darabont, Guillermo del Toro, Steven Spielberg and many other filmmakers, artists and critics, the journey spans Drew's early career in commercial and album cover art through his recent retirement as one of the most recognizable and influential movie poster artists of all time.

A personal documentary about the iconic actor in his intimate moments, with clips from some of his 250 films and his own heart-breaking renditions of American folk songs. The film explores the actor's enigmatic outlook on his life, his unexploited talents as a musician, and includes scenes with David Lynch, Wim Wenders, Sam Shepard, Kris Kristofferson and Debbie Harry. Official Selection at the **SXSW Film Festival** and the **Venice Film Festival**. "*Engaging documentary tribute to the craggy character-actor and his five-decade career is elevated by classy visuals and a nicely relaxed, casual tone.*" - Neil Young, ***The Hollywood Reporter***

Cultivating Your Creative Life: How to Find Balance, Beauty, and Success as an Artist is a multifaceted book where creativity and wonder intermingle to show how to live a creative and balanced life while moving toward your goals. You'll delve right into the creative process and find practical and inspiring suggestions on making a living as a working artist. This book holds reverence and respect for the natural world in high esteem, using a central visual metaphor of the growth and blossoming of a tree. Alena Hennessey's illustration style combines nature, whimsey, delicacy, and a modern sensibility; vibrant pen and ink illustrations accompany relevant quotes of inspiration, tips, and creative journal exercises. Cultivating Your Creative Life is not only an interactive creativity guide; it is a work of art, in itself-a beautiful, collectible volume-to save and to savor, or to give as a gift to the special creative person in your life.
(source: Nielsen Book Data)

• Machine generated contents note: 1. "Sensation of Sensations"
• 2. Spanish Gaze
• 3. Notary's Son
• 4. Bohemian Paris
• 5. Little Cubes
• 6. Modernist Tide
• 7. Armory Show
• 8. Return to Order
• 9. Parisian in America
• 10. Surrealist Bridges
• 11. Europe's Chessboards
• 12. Flight of the Avant-Garde
• 13. Art in Revolt
• 14. Readymade
• 15. Picasso's Last Stand
• 16. Duchampians
• 17. Year of Picasso, Age of Duchamp.

In the fateful year of 1913, events in New York and Paris launched a great public rivalry between the two most consequential artists of the twentieth century, Pablo Picasso and Marcel Duchamp. The New York Armory Show art exhibition unveiled Duchamp's Nude Descending a Staircase, a "sensation of sensations" that prompted Americans to declare Duchamp the leader of cubism, the voice of modern art. In Paris, however, the cubist revolution was reaching its peak around Picasso. In retrospect, these events form a crossroads in art history, a moment when two young bohemians adopted entirely opposite views of the artist, giving birth to the two opposing agendas that would shape all of modern art. Today, the museum-going public views Pablo Picasso as the greatest figure in modern art. Over his long lifetime, Picasso pioneered several new styles as the last great painter in the Western tradition. In the rarefied world of artists, critics, and collectors, however, the most influential artist of the last century was not Picasso, but Marcel Duchamp: chess player, prankster, and a forefather of idea-driven dada, surrealism, and pop art. Picasso and the Chess Player is the story of how Picasso and Duchamp came to define the epochal debate between modern and conceptual art-a drama that features a who's who of twentieth-century art and culture, including Henri Matisse, Gertrude Stein, AndreBreton, Salvador Dali, and Andy Warhol. In telling the story, Larry Witham weaves two great art biographies into one tumultuous century.
(source: Nielsen Book Data)

• Ruskin's contribution to the doctrine of work
• Morris and his plea for an industrial commonwealth
• Ashbee and the reconstructed workshop --The development of industrial consciousness
• Major artists (John Ruskin, Philip Speakman Webb, William Morris, William Friend De Morgan, Walter Crane, Charles Robert Ashbee).

"Have nothing in your house that you do not know to be useful, or believe to be beautiful." This quote alone from William Morris could summarise the ideology of the Arts & Crafts movement, which triggered a veritable reform in the applied arts in England. Founded by John Ruskin, then put into practice by William Morris, the Arts & Crafts movement promoted revolutionary ideas in Victorian England. In the middle of the "soulless" Industrial Era, when objects were standardised, the Arts & Crafts movement proposed a return to the aesthetic at the core of production. The work of artisans and meticu.

• SOMMAIRE; EDGAR DEGAS ET SON OEUVRE; EDGAR DEGAS ÉCRIT; À Frölic
• h1. Sans date (27 novembre 1872).; À Henri Rouart. Nlle Orléans, 5 décembre 1872.; À Henri Rouart. Paris, 8 août (1873).; À Faur
• e2. Turin, samedi (décembre 1873).; À Bracquemon
• d3. Sans date (1874). Mardi.; À Bracquemond. Sans date (13 mai 1879).; À Bracquemond. Sans date. (Sans doute fin 1879 ou début 1880).; À Bracquemond. Sans date (1880).; À Camille Pissarro. Sans date (1880).; À Henri Rouart. Paris, mardi 26 octobre.; À Alexis Rouar
• t5. Sans date (1882).; À J.E. Blanche. 1882.; À Bartholomé. Paris, 5 août 1882.

• À Bartholomé. Sans date (1883, année de la mort de Manet).À Henri Rouart 16 octobre (1883).; À Ludovic Halévy. Sans date (novembre 1883).; À Mme Bartholomé (née de Fleury). Sans date.; À Bartholomé.; À Henry Lerolle. 21 août 1884.; À Henri Rouart. Château de Mesnil Hubert, près Gacé (Orne).; À Ludovic Halévy. Sans date (1884).; À Henri Rouart. Samedi.; À Ludovic Halévy. Sans date (1884).; À Bartholomé. Mesnil Hubert. Lundi (15 septembre 1884).; À Bartholomé. Sans date. Mesnil Hubert. Vendredi (3 octobre 1884).; À Durand-Rue
• l6. Sans date.; À Henri Rouart. Sans date. Lundi matin.

• À Henri Rouart. Sans date. Samedi. Paris. À Henri Rouart. Sans date (1884 ou 1885). Mercredi.; À Bartholomé. Sans date.; Ludovic Halévy. Sans date. (Septembre 1885). Mardi.; À Ludovic Halévy. Sans date. (Septembre 1885). Mercredi.; À Ludovic Halévy. Naples, le 7 janvier 1886.; À Bartholomé. Naples, 17 janvier (1886).; À Henri Rouart. Sans date (1886).; À Faure. Sans date. (16 juin 1886).; À Faure.; À Madame de Fleury. Sans date.; À Bartholomé. Sans date (1888).; À Henri Rouart. Sans date (1888).; À Ludovic Halévy. Cauterets, 6 septembre 1888.; À Bartholomé. Cauterets, 9 septembre.

• À Bartholomé. Sans date (14 août 1889).À Boldin
• i7. Sans date (août 1889).; À Boldini. Sans date (août 1891).; À Bartholomé. Cauterets, 19 août 1889.; À Bartholomé. Sans date (1889).; À Bartholomé. Papier à en-tête.; À Monsieur Brebion. 13 avril 1890.; À Bartholomé. Sans date.; À Bartholomé, Hôtel d'Angleterre, Cauterets, 24 août.; À Bartholomé. Cauterets. Jeudi 28 août 1890, ; À de Valerne
• s8. Sans date (1890).; À de Valernes. Sans date (1890); À de Valernes. Paris, 26 octobre 1890.; À de Valernes. 6 juillet 1891.; À Daniel Halévy. Sans date (août 1892).; À de Valernes. Sans date (1893).

• À Ludovic Halévy. Hôtel Jungfrau. Interlaken. À Alexis Rouart. Paris, le 28 juillet (1896). (L'année est de la main d'Alexis Rouart); À Alexis Rouart. Sans date (cachet de la Poste : septembre 98).; À Alexis Rouart. Pontarlier (7 septembre 1904).; À Alexis Rouart. 6 août 1907.; À Alexis Rouart. 21 août (cachet de la Poste : 1908).; À Alexis Rouart. Sans date. Lundi.; NOTES; LISTE DES ILLUSTRATIONS.

• SOMMAIRE; LA CONTRIBUTION DE JOHN RUSKIN À LA DOCTRINE; 2
• WILLIAMMORRIS ET SON PLAIDOYER POUR UN COMMONWEALTH INDUSTRIEL; 3
• CHARLES ROBERT ASHBEE ET L'ATELIER RECONSTRUIT; 4
• LE DÉVELOPPEMENT D'UNE CONSCIENCE INDUSTRIELLE; Les Incontournables; JOHN RUSKIN (LONDON, 1819
• CONISTON, 1900); PHILIP SPEAKMAN WEBB (OXFORD, 1831
• WORTH, 1915); WILLIAM MORRIS (WALTHAMSTOW, 1834
• KELMSCOTT, 1896); WILLIAM FREND DE MORGAN (LONDON, 1839
• 1917); WALTER CRANE (LIVERPOOL, 1845
• HORSHAM, 1915); CHARLES ROBERT ASHBEE (LONDON, 1863
• SEVENOAKS, KENT, 1942); BIBLIOGRAPHIE; INDEX.

• The Origins of the Pre-Raphaelite Brotherhood; English Art in 1844; The Pre-Raphaelite Battle; The Definition and Results of Pre-Raphaelitism; Intentions; Major Artists; William Holman Hunt (London, 1827
• London, 1910); Sir John Everett Millais (Southampton, 1829
• London, 1896); Dante Gabriel Rossetti (London, 1828
• Birchington, 1882); Ford Madox Brown (Calais, 1821
• London, 1893); Arthur Hughes (London, 1832
• Kew, 1915); Sir Edward Burne-Jones (Birmingham, 1833
• West Stratton, 1898); William Morris (Walthamstow, 1834
• Kelmscott, 1896); Notes; Index.

In Victorian England, with the country swept up in the Industrial Revolution, the Pre-Raphaelites, close to William Morris' Arts and Crafts movement, yearned for a return to bygone values. Wishing to revive the pure and noble forms of the Italian Renaissance, the major painters of the circle such as John Everett Millais, Dante Gabriel Rossetti and William Holman Hunt, in opposition to the academicism of the time, favoured realism and biblical themes over the affected canons of the nineteenth century. This work, with its captivating text and rich illustrations, describes with enthusiasm this si.

• COVER; CONTENTS; ACKNOWLEDGEMENTS; ABOUT THE AUTHOR; Introduction; CHAPTER ONE Mark Rothko; CHAPTER TWO Joseph Cornell; CHAPTER THREE Piet Mondrian; CHAPTER FOUR Pablo Picasso; CHAPTER FIVE Clement Greenberg; CHAPTER SIX Edward Weston; CHAPTER SEVEN Ingmar Bergman; CHAPTER EIGHT François Truffaut; CHAPTER NINE Quentin Tarantino; CHAPTER TEN Florian von Donnersmarck; REFERENCES; INDEX.

James Hamilton's engaging book offers us his own unique insight into the unconscious factors involved in the creative processes associated with painting, filmmaking, and photography by studying the lives and works of a number of artists, each one having a unique personal style.In separate chapters, he looks at the lives and works of Mark Rothko, Joseph Cornell, Piet Mondrian, Pablo Picasso, Clement Greenberg, Edward Weston, Ingmar Bergman, Francois Truffaut, Quentin Tarantino, and Florian von Donnersmarck from a psychoanalytic perspective with emphasis on unconscious motivation and the quest for mastery of intrapsychic conflict. The book is bound to encourage further questions and hypotheses about the nature of these complex phenomena.
(source: Nielsen Book Data)

• INTRODUCTION TO RUSSIAN PAINTING; THE FIRST MASTER OF RUSSIAN PAINTING; GRAPHIC WORKS; BIOGRAPHY; Index.

The Moscow artists who began to move towards Impressionism in the 1880s admired the works of the young Serov and his pastoral landscapes that so clearly revealed the lyricism of modest events in daily life. Benefiting from the instruction of his teachers, Repin and Tchistiakov, he became the finest Russian portrait artists of his generation. His skill is evident in some of his most beautiful paintings, The Girl with Peaches and Ulysses and Nausicaa. Serov's creative work and experience paved the way for Russian painting to play a more important role in pictorial art in the 20th century.

Annotation Among the "young peredvizhniki" who joined the World of Art group, the most brilliant portraitist was Valentin Serov. Like many of his contemporaries, he delighted in painting out of doors, and some of his most appealing portraits - such as Girl with Peaches, Girl in Sunlight and In Summer - owe their naturalness to their setting or to the interplay of sunlight and shadows. Indeed, Serov regarded them as "studies" rather than portraits, giving them descriptive titles that omitted the sitter's name. The subject of Girl with Peaches - painted when Serov was only twenty-two - was in fact Mamontov's daughter Vera. The model for In Summer was Serov's wife. When only six years old, Serov began to display signs of artistic talent. At nine years old, Repin acted as his teacher and mentor, giving him lessons in his studio in Paris, then let Serov work with him in Moscow, almost like an apprentice. Eventually Repin sent him to study with Pavel Chistiakov - the teacher of many of the World of Art painters, including Nesterov and Vrubel. Chistiakov was to become a close friend. Because Serov's career spanned such a long period, his style and subject matter vary considerably, ranging from voluptuous society portraits (the later ones notable for their grand style and sumptuous dresses) to sensitive studies of children. Utterly different from any of these is the famous nude study of the dancer Ida Rubinstein, in tempera and charcoal on canvas, which he painted towards the end of his life. Although Serov's early style has much in common with the French Impressionists, he did not become acquainted with their work until after he had painted pictures such as Girl with Peaches.

• Contents: Introduction
• Theories of creativity and its contexts
• Theorizing a creative subjectivity
• Aspirants
• The shape of a creative career
• Mature views
• Attractions, exclusions and self-repair
• Contemporary identities of creativity and creative work
• References
• Appendix
• Index.
• (source: Nielsen Book Data)

Creative workers have been celebrated internationally for their flexibility in new labour markets centred on culture, creativity and, most recently, innovation. This book draws on research with novice and established workers in a range of specializations in order to explore the meanings, aspirations and practical difficulties associated with a creative identification. It investigates the difficulties and attractions of creative work as a personalized, affect-laden project of self-making, perpetually open and oriented to possibility, uncertain in its trajectory or rewards. Employing a cross-disciplinary methodology and analytic approach, the book investigates the new cultural meanings in play around a creative career. It shows how classic ideals of design and the creative arts, re-interpreted and promoted within contemporary art schools, validate the lived experience of precarious working in the global sectors of the creative and cultural industries, yet also contribute to its conflicts. 'Contemporary Identities of Creativity and Creative Work' presents a distinctive study and original findings which make it essential reading for social scientists, including social psychologists, with an interest in cultural and media studies, creativity, identity, work and contemporary careers.
(source: Nielsen Book Data)

• Acknowledgments; Being an Artist; The Birth of an Artist; Private and Public; The Changing Focus of the Eye; The Freedom of Objects; Changing Moods; The Artist and his Viewers; Marcel Duchamp: Thought in Art; Multiple Impressions; Not Designed, But Taken; Printing and Painting; Untitled and Related Works; Thought, Embodied; Creation and Destruction; Dropping the Reserve; Something Happening; Shifting Meanings; Picasso: Different Kinds of Qualities; Second Childhood; Knowing and Not Knowing; Dropping the Reserve?; Grace; Catenary; Within; Conclusion; Notes; Bibliography.

At a time when the dominant mode of painting, Abstract Expressionism, emphasized expressive drama through bold brushwork and largely abstract compositions, Johns' paintings of the American flag, targets, numbers and the alphabet demonstrated a decided departure from convention. Despite being painted with obvious care, they seemed emotionally reticent, cool and quiet, far from the emotional fireworks then fashionable."It all began ... with my painting a picture of an American flag. Using this design took care of a great deal for me because I didn't have to design it. So I went on to similar things li.

• Catherine Craft; Inhaltsverzeichnis; Danksagungen; Den Künstler leben; Der wechselnde Fokus des Blicks; Nicht entworfen, sondern entnommen; Aufgabe der Zurückhaltung; Anmut; Anmerkungen; Bibliographie; Index.

Zu einer Zeit, als der abstrakte Expressionismus die amerikanische Malkunst beherrscht und die Betonung auf kühnen Farben, einem fast brutalen malerischen Duktus und zumeist abstrakten Kompositionen liegt, beschreitet Jasper Johns mit seinen amerikanischen Flaggen, Schießscheiben, Zahlen und Buchstaben ganz eigene Wege. Obwohl - oder weil - er seine Bilder offensichtlich mit großer Sorgfalt und Präzision malt, wirken sie zurückhaltend, kühl und ruhig, ja, distanziert und jedenfalls weit entfernt von den emotionalen Feuerwerken vieler seiner berühmten Zeitgenossen."Es begann damit, dass ich ein.

• Sommaire; Remerciements; Être un artiste; La Naissance d'un artiste; Privé et public; L'Activité de l'oeil; La Liberté des objets; Humeurs changeantes; L'Artiste et son public; Marcel Duchamp : la pensée dans l'art; Impressions multiples; Pas Dessiné, mais pris; Gravure et peinture; Untitled et oeoeuvres associées; Pensé, incarné; Création et destruction; Déposer les armes; Il se passe quelque chose; Significations changeantes; Picasso : différent types de qualités; Deuxième Enfance; Savoir et ne pas savoir; Déposer les armes?; Grâce; Catenary; À l'Intérieur; Conclusion; Untitled.

À l'époque où l'expressionnisme abstrait, mode de peinture alors dominant, mettait l'accent sur l'expression dramatique à travers des coups de pinceaux audacieux et de larges compositions abstraites, les peintures du drapeau américain, des cibles, des nombres ou de l'alphabet réalisées par Jasper Johns apparurent comme une rupture radicale. Froids, silencieux et impassibles, ses sujets, soigneusement établis, étaient en effet bien loin des explosions émotionnelles alors en vogue. (S0 (B Tout a commencé ... avec mon tableau d'un drapeau américain. Mon choix de ce sujet fut stratégique, car je n'avais pr.

• Inhalt; vorwort; leonardos kindheit und seineersten werke; der hof der sforza; die madonna in der felsengrotte und die meisterwerke aus santa maria delle grazie; leonardos akademie; anmerkungen; leonardos kindheit und seine ersten werke; der hof der sforza; die madonna in der felsengrotte und die meisterwerke aus santa maria delle grazie; leonardos akademie; liste der maler; liste der abbildungen.

"Dadurch, dass er die Natur und alle für ihrevollkommene Wiedergabe wichtigen Wissenschaften -Anatomie, Perspektive, Physiognomie - leidenschaftlichstudierte und klassische Modelle konsultierte, sichgleichzeitig allerdings die für ihn typischeUnabhängigkeit bewahrte, konnte er bei derKombination von Präzision mit Freiheit und vonWahrheit mit Schönheit nicht fehl gehen. Die raisond'être und der Ruhm des Meisters beruhen auf dieserendgültigen Emanzipation, dieser perfektenMeisterschaft der Modellierung, der Lichtgebung unddes Ausdrucks, dieser Weite und Freiheit. Auch anderemögen neue Wege gebah.

• Preface; leonardo's childhood and his first works; the court of the sforzi; the virgin of the rocks and the masterpiece of santa maria delle grazie; leonardo's academy; notes; list of artists; list of illustrations.

"Studying nature with passion, and all the independence proper to his character, he could not fail to combine precision with liberty, and truth with beauty. It is in this final emancipation, this perfect mastery of modelling, of illumination, and of expression, this breadth and freedom, that the master's raison d'être and glory consist. Others may have struck out new paths also; but none travelled further or mounted higher than he." (Eugène Müntz).

• Sommaire; léonard de vinci et l'antiquité; l'artiste, le penseur et le savant; la chute de ludovic le more et ses conséquences; retour à milan; les derniers jours de léonard de vinci au service de françois ier et sa grande influence; biographie; notes; liste des artistes; liste des illustrations.

• BIOGRAPHIE; Liste des illustrations.

Claude Gellée (1600-1682), dit Le Lorrain, fut le plus grand paysagiste de son époque. Il fut surnommé Le Lorrain car il naquit en Lorraine. Jeune, il vécut à Rome et, si ce n'est un bref séjour à Nancy, demeura en Italie jusqu'à la fin de sa vie. Il n'est donc pas surprenant que les paysages romantiques pour lesquels Le Lorrain fut célébré, appartiennent davantage à la tradition italienne qu'à celle de la France. L'effet tamisé de la lumière et le feuillage duveteux, en contraste avec des ruines gréco-romaines, inspira des générations de peintres, y compris Turner et même les Impressionni.

• Introduction; I. Youth and the Steppes; II. The Discovery of Art and His Experimentations: Impressionism, Fauvism, Cubism and Futurism; Discovering the "Art" within him; Earliest Art Student Days; Impressionism and Experimentation; Fauves, Cubists and Futurists; III. Suprematism; IV. The Flight Crashes to Earth; Biography; Bibliographical Notes; List of Illustrations.

This study describes the artistic influences on Malevich's style and theories, from Futurism to design and architecture, while also shedding light on his personal life. Gerry Souter skilfully not only exposes the great artist that Malevich was, but also reveals the life of the man behind the name.

• Sommaire; I. Une Révélation précoce; Enfance, 1757-1771; Apprentissage et mariage, 1771-1787; Les Poèmes lyriques; II. Visions poétiques; Poland Street et les premières prophéties, 1787-1792; Lambeth; Les Idées de Blake sur l'art; À Felpham avec Hayley, 1800-1803; III. Le Crépuscule d'un prophète; Milton et Jérusalem; Encore Londres, 1804-1809; 1810-1818; Disciples et décès; Blake et le Sublime; Notes; Bibliographie; Liste des illustrations.

Figure majeure du mouvement romantique, le britannique William Blake (1757-1827) fut à la fois peintre, dessinateur, graveur et poète. L'artiste s'attachant à illustrer lui-même son OEuvre littéraire, les textes de Blake se développent suivant les lignes de ses gravures et dessins hallucinés, et deviennent, dès lors, de véritables enluminures. Inspiré des thèmes bibliques et prophétiques (Proverbes de l'Enfer, L'Évangile éternel, Les Portes du Paradis, etc.), l'art de Blake mélange subtilement la modernité de son époque et de la révolution romantique avec le classicisme des thèmes qu'il explor.

• Leonardo's dealings with the antique
• The poet, the thinker and the man of science
• The downfall of Lodovico il Moro and the consequences
• His return to Milan
• Leonardo's final days working under Francis I and his great influence.

"Studying nature with passion, and all the independence proper to his character, he could not fail to combine precision with liberty, and truth with beauty. It is in this final emancipation, this perfect mastery of modelling, of illumination, and of expression, this breadth and freedom, that the master's raison d'être and glory consist. Others may have struck out new paths also; but none travelled further or mounted higher than he." (Eugène Müntz).

• An artist in the making, 1881-1906
• Pechstein and Die Brücke, 1906-1913
• Paradise, war and revolution, 1914-1919
• The Weimar years, 1919-1932
• Life under dictatorship, 1933-1945
• The final years, 1945-1955.

Max Pechstein (1881-1955) is one of the most prominent German artists of the twentieth century, not least because of his crucial role in the breakthrough of German Expressionism. This long overdue biography combines the portrayal of an outstanding artistic personality with the story of an individual German who struggled through the political upheavals of his time. Pechstein's work is presented in the cultural context of museum politics and art associations, art dealers and critics, market forces and cultural trends.
(source: Nielsen Book Data)

• Virgin Mary, put Putin away (Punk prayer)
• Art or politics?
• Letter by Masha in prison
• Letters by Nadya in prison
• Death to prison, freedom to protest
• Letter to patriarch Kirill
• Kropotkin-vodka
• Letters to president Medvedev
• Putin has pissed himself
• Opening courtroom statement by Masha
• Opening courtroom statement by Nadya
• Raze the pavement
• Excerpts from the court transcript
• Closing statement by defense attorney Violetta Volkova
• Closing statement by defense attorney Mark Feygin
• Closing statement by defense attorney Nikolay Polozov
• Closing courtroom statement by Katya
• Closing courtroom statement by Nadya
• Closing courtroom statement by Masha
• Three poems by Masha
• Excerpts from the appeal statements
• Tributes to Pussy Riot. Yoko Ono ; Peaches and Simonne Jones ; Bianca Jagger ; Tobi Vail ; Johanna Fareman ; JD Samson ; Eileen Myles ; Justin Vivian Bond ; Barbara Browning ; Vivien Goldman ; Laurie Weeks ; Karen Finley.

Letters from prison, songs, poems, and courtroom statements, plus tributes to the punk band that shook the world.

• Introduction: For artists and all of us
• Part I: Knowing oneself : choosing an artist's life. Ch. 1. Victor Wooten : born into a band--understanding oneself ; Ch. 2. Nona Hendryx : art as metamorphosis--remaking herself ; Ch. 3. William Banfield : personal aesthetics ; Ch. 4. Michael Bearden : being true to yourself ; Ch. 5. Caroline Harvey : claiming your art and transforming lives
• Part II: Exploring interrelationships among the arts. Ch. 6. Alisa Valdes-Rodriguez : writing the music ; Ch. 7. Ellen Priest : seeing the world ; Ch. 8. China Blue : listening to and recording the world ; Ch. 9. Henry Diltz : shooting the world ; Ch. 10. Lori Landay : visual meaning--technology, art, and culture
• Part III: Sustaining culture and community. Ch. 11. Bruce George : the politics of art ; Ch. 12. Doug Stanton : writing and living in the community ; Ch. 13. Otis Sallid : the languages of art
• Part IV: Bringing joy ; telling the truth. Ch. 14. Greg Jaris : re-enchanting the world's magic ; Ch. 15. Bobby McFerrin : spreading joy ; Ch. 16. Janis Ian : being an artist
• Conclusion: Courage, vision, worldview--and magic.

"To be an artist" is a conversation with today's successful and prominent artists from a variety of disciplines--musicians, visual artists, digital artists, poets, writers, activists and scholars. All of them discuss what it means to be an artist today, how they perceive their craft and their world, and the role of art in society. They agree that artists' creativity and success come not only from the intense focus of their craft, but, also from their development of a worldview--from their wider vision and understanding of the world in which they live."--Page 4 of cover.

• La memoria en los bordes : entrevista, dibujos. Entrevista aElda Cerrato / por Paula Siganevich
• Palabras de cierre de TRAMA de Diseño / porEsteban Rico
• Notas a la entrevista por Elda Cerrato
• Textos para presentacionesde catálogos de muestras de Elda Cerrato.

In this dictionary of American art, 945 alphabetically arranged entries cover painters, sculptors, graphic artists photographers, printmakers, and contemporary hybrid artists along with important aspects of the cultural infrastructure.

This dictionary contains over 2,500 entries covering Western art from the ancient Greeks to the present day. It includes biographical entries, styles and movements, materials and techniques, and museums and galleries.

"Critical Collective is an initiative by art curator and critic Gayatri Sinha. Critical Collective works towards building knowledge in the arts in India. Since its inception in 2011, it has collaborated closely with institutions in India and abroad to create exhibitions and seminars on art. In order to take is activities on a larger scale; Critical Collective created criticalcollective.in. This website is intended to fill in the lacuna caused by an absence of publishing in the arts, a lack of reprints and a shortage of institutional infrastructure to support knowledge in the domain of the arts."--Website (viewed on April 29, 2015)

An artist obsessively paints a young woman with a heart condition, who doesn't know the identity of her mystery admirer.

This novel presents the story of Irene America, who is a smart, beautiful, introspective woman of Native American decent. Too distracted to finish her doctoral degree, she musters the emotional resources needed to keep two journals. The "Red Diary" is bait, filled with adulterous scenes that Irene uses to push volatile artist husband Gil close enough to the brink that he'll leave her. She unleashes all her rage and frustration in the "Blue Notebook, " which she keeps in a bank deposit box. Meanwhile, Gil believes that his obsessive graphic paintings of Irene will somehow lure her back to him. Caught in the crosshairs of their parents' cruel, messy unraveling are 13-year-old Florian, a genius who models his mother's excessive drinking habits; Riel, 11, who believes that only she can hold her disintegrating family together; and sunny little Stoney. The result is a cautionary tale of the shocking havoc that willfully destructive, self-centered spouses wreak not only upon themselves but also upon their children.

This book focuses on a little known but fascinating contribution by Thomas Baines to Augustus Gregory's North Australian Expedition: the artist-explorer's audacious attempt, in an open longboat with two companions, to link up with Gregory at the Albert River at the southern end of the Gulf of Carpentaria.

"Christopher Moore is a very sick man, in the very best sense of that word." -Carl Hiassen "[Moore's novels] deftly blend surreal, occult, and even science-fiction doings with laugh-out-loud satire of contemporary culture." -Washington Post "If there's a funnier writer out there, step forward." -Playboy Absolutely nothing is sacred to Christopher Moore. The phenomenally popular, New York Times bestselling satirist whom the Atlanta Journal-Constitution calls, "Stephen King with a whoopee cushion and a double-espresso imagination" has already lampooned Shakespeare, San Francisco vampires, marine biologists, Death...even Jesus Christ and Santa Claus! Now, in his latest masterpiece, Sacre Bleu, the immortal Moore takes on the Great French Masters. A magnificent "Comedy d'Art" from the author of Lamb, Fool, and Bite Me, Moore's Sacre Bleu is part mystery, part history (sort of), part love story, and wholly hilarious as it follows a young baker-painter as he joins the dapper Henri Toulouse-Lautrec on a quest to unravel the mystery behind the supposed "suicide" of Vincent van Gogh.
(source: Nielsen Book Data)

• Los pinceles trashumantes / Javier Villarreal Lozano
• Biografía e itinerancia de Salvador Tarazona Pérez, artista Valenciano / Jesús Pérez Uruñuela
• Tarazona, línea del tiempo / Javier Villarreal Lozano
• El substancioso eclecticismo de Tarazona / Javier Villarreal Lozano
• Salvador Tarazona, la consolidación de un carácter pictórico / Miguel Canseco
• Verdad, Marguerite? / Arturo E. Villarreal Reyes
• Mapa: La ruta de Tarazona

Salvador Tarazona (b. Valencia, Spain - d. Caracas, Venezuela, 1961) was a painter, decorator and set designer who achieved some notoriety in Mexico for his mural work in the Palacio de Gobierno in Saltillo (1928 - 29), in the Teatro Isauro Martinez in Torreón (1930) and in the Palacio de Cortés in Cuernavaca (1938 - 1944). Before arriving in Mexico in 1904 commissioned for decorative paints in the haciendas of Yucatan, Tarazona participated in the decoration of the Spanish Pavilion of the Universal Exposition in Paris in 1900. In the city of Mexico he ornamented the allegoric car of the cigar factory El Buen Tono for the Centenary of the Independence (1910) parade. During the Mexican Revolution he immigrated to New York, and worked in Broadway as set designer. Upon his return to Mexico, he continued his theatrical profession in the main theatre of the capital. Years later and after a brief stay in Europe, Tarazona was hired in Coahuila to perform two murals, one in the interior of the Teatro Isauro Martinez.

• El arte caribeño entre la naturaleza y la sociedad / Nancy Morejón
• El arte entre el paisaje y el hombre en la naturaleza
• El arte en diálogo medioambiental
• Epílogo: nuevos retos del arte frente al diálogo naturaleza-sociedad.

"A feature-length documentary portrait of the New York artist Carolee Schneemann by Canadian filmmaker Marielle Nitoslawska. A pioneer of performance and body art as well as avant-garde cinema, Schneemann has been breaking the frames of the art world for five decades, in a variety of mediums, challenging assumptions of feminism, gender, sexuality, and identity. Utilizing a rich variety of film and hi-definition formats, Breaking The Frame can be described as a kinetic, hyper-cinematic intervention, a critical meditation on the relation of art to the physical, domestic and conceptual aspects of daily life and on the attributes of memory. It uses Schneemann's autobiographical materials to narrate the historic upheaval within Western art in post-war America. The film captures Schneemann in her own words, images and reflections, at work, at home, in the studio, and interweaves extensive film excerpts from her groundbreaking film work in both super 8 and 16mm such as Fuses (1967) and Kitch's Last Meal (1973-76), with documentation of performances including Meat Joy (1964), Interior Scroll (1975) and more recent museum commissions and exhibitions. ... The visual composition is complemented by a soundtrack featuring the music of composer James Tenney. Tenney was Schneemann's companion and collaborator for many years, and the two remained close friends until his death in 2006."--From breakingtheframe.com.

• [1]. Dalʹniĭ Vostok
• [2]. Sibirʹ
• [3]. Severo-Zapad
• [4]. T͡Sentr Rossii
• [5]. I͡Ug Rossii
• [6]. Severnyĭ Kavkaz
• [7]. Povolzhʹe
• [8]. Ural
• [9]. Moskva, Sankt-Peterburg.

• [1]. Дальний Восток
• [2]. Сибирь
• [3]. Северо-Запад
• [4]. Центр России
• [5]. Юг России
• [6]. Северный Кавказ
• [7]. Поволжье
• [8]. Урал
• [9]. Москва, Санкт-Петербург.

本书是张充仁先生的艺术传记, 图文相辅. 本书是张充仁先生的艺术传记, 图文相辅.