$a 本书基本材料是1909年, 1914年俄罗斯两次新疆考察队在焉耆錫克沁遗址所获文物,以及当时的测绘地图, 原始记录等.錫克沁连接了敦煌, 吐鲁番, 和阗, 克孜尔等丝绸之路重镇,其出土文物主要是唐代的,对於周边资料具有重要的参考借鉴作俑.錫克沁遗址现极少遗存,外国探险队所获材料和100年前的现场记录,对於历史, 美术考古具有重要的意义.

<Summary in Chinese field only>
本书通过对民国杭州的专业艺术教育、学校艺术教育、社会艺术教育三方面的梳理, 再现民国时期发生在杭州的艺术教育状况; 从"空间"与"时间"两个维度展开, 将纷繁芜杂的历史碎片串联起来, 再现民国时期大杭州中活跃的那些人、那些事, 使后来者深切体味前辈们曾经的所思所为, 进而对我们城市的文化精髓有更真切的感悟.

• Jean Arp essay
• Joe Brainard collaborations
• ARTnews reviews
• Essays and collaborations
• Poetry.

"Offers a selection of Guest's work on art written between the 1950's and 2000"--Introd.

• Acknowledgements; List of Contributors; List of Illustrations; Foreword; Introduction; Part One Iconographic Invention in the Life of Mary Magdalene; Chapter One The Magdalene as Mirror: Trecento Franciscan Imagery in the Guidalotti-Rinuccini Chapel, Florence; Chapter Two Mary Magdalene and Her Dear Sister: Innovation in the Late Medieval Mural Cycle of Santa Maddalena in Rencio (Bolzano); Chapter Three The German Iconography of the Saint Magdalene Altarpiece: Documenting Its Context; Part Two Mary Magdalene as the Reformed Sinner.

• Chapter Four The Printed Penitent: Magdalene Imagery and Prostitution Reform in Early Modern Italian Chapbooks and BroadsheetsChapter Five Tintoretto's Holy Hermits at the Scuola Grande di San Rocco; Chapter Six Irony and Realism in the Iconography of Caravaggio's Penitent Magdalene; Part Three Noli me Tangere: Mary Magdalene, the Witness; Chapter Seven The Gaze in the Garden: Mary Magdalene in Noli me Tangere; Chapter Eight Michelangelo's Noli Me Tangere for Vittoria Colonna, and the Changing Status of Women in Renaissance Italy.

• Chapter Nine Woman, Why Weepest Thou? Rembrandt's
• 1638 Noli Me Tangere as a Dutch Calvinist Visual TypologyPart Four Patronage and Privilege: The Magdalene as Guardian and Advocate; Chapter Ten The Magdalene and 'Madame': Piety, Politics, and Personal Agenda in Louise of Savoy's Vie de la Magdalene; Chapter Eleven Mary Magdalene Between Public Cult and Personal Devotion in Correggio's Noli Me Tangere; Chapter Twelve Reflections on a Glass Madeleine Pénitente; Part Five Fusion and Flexibility: The Magdalene's Role Transformed; Chapter Thirteen Exorcism in the Iconography of Mary Magdalene.

• Chapter Fourteen "Woman, Why Weepest Thou?" Mary Magdalene, the Virgin Mary and the Transformative Power of Holy Tears in Late Medieval Devotional PaintingChapter Fifteen Mary Magdalene and the Iconography of Domesticity; Chapter Sixteen Marketing Mary Magdalene in Early Modern Northern European Prints and Paintings; Bibliography; Index.

Mary Magdalene, Iconographic Studies from the Middle Ages to the Baroque examines the iconographic inventions in Magdalene imagery and the contextual factors that shaped her representation in visual art from the fourteenth to the seventeenth centuries.

During the Renaissance, Italian painters would traditionally depict the wives of their patrons as Madonnas, often rendering them more beautiful than they actually were. Over centuries in religious paintings, the Madonna has been presented as the clement and protective mother of God. However, with the passing of time, Mary gradually lost some of her spiritual characteristics and became more mortal and accessible to human sentiments. Virgin Portraits illuminates this evolution and contains impressive works by Michelangelo, Caravaggio, Rubens, Fouquet, Dalí, and Kahlo.

• Horowitz, H.H. The Art Institute of Chicago : the first forty years.--Frueh, F. and Frueh, E.R. Frederick Clay Bartlett.--Marzio, P.C. A museum and a school.--The Collections.--Woodall, E.D. Looking backward.--Jewell, F. The Ryerson and Burnham Libraries.--Brubaker, R.L. Toward a history of The Art Institute of Chicago.

• Contents: Introducing Marion The McNay Residence in
• 1929 How the Museum Expanded Jane and Arthur Stieren Center for Exhibitions Library and Education European Art, 1800s-early 1900s American Art, 1900-World War II Art after World War II Contemporary Art Prints and Drawings Theatre Arts Medieval and Renaissance Art Art of New Mexico.
• (source: Nielsen Book Data)

'McNay Art Museum: An Introduction' surveys the founder, history, architecture and collection of the San Antonio, Texas, museum of modern and contemporary art. Opened in 1954, four years after the death of artist, educator, and collector Marion Koogler McNay, the museum's founder, the McNay grew from a collection of a few hundred works of art to nearly 20,000 objects. The collection focuses on European and American art from the mid-19th century to the present. Originally housed in Marion McNay's Spanish Colonial Revival residence, addition of the Stieren Center for Exhibitions doubled the museum's facilities. This handbook tells the story of the founder of the museum, examines its architecture and growth, and surveys the collection through text and images. Key works of art illustrate the range of paintings, sculpture, and works on paper, including an outstanding collection of theatre arts with designs for opera, ballet, and the stage.
(source: Nielsen Book Data)