A vibrant, colourful and beautiful book that introduces readers to Impressionism and Post-Impressionism. It explains the difference between the two movements and the main artists associated with each. Illustrations are drawn from the renowned and outstanding collection of French art held by the National Galleries of Scotland and they include a number of rarely seen works. This book tells the fascinating stories of how the key paintings and drawings found their way into the collection. Artists include Monet, Millet, Gauguin, Bastien-Lepage, Charles Jacque, Troyon, Corot, Degas, Seurat, Van Gogh, Cezanne, Vuillard, Bonnard, Derain, Matisse, Legros and Rodin.

63 rue de Monceau, Paris

Dear friend,

As you may have guessed by now, I am not in your house by accident. I know your street rather well.

Count Moïse de Camondo lived a few doors away from Edmund de Waal's forebears, the Ephrussi, first encountered in his bestselling memoir The Hare with Amber Eyes. Like the Ephrussi, the Camondos were part of belle époque high society. They were also targets of anti-semitism.

Camondo created a spectacular house and filled it with the greatest private collection of French eighteenth-century art for his son to inherit. But when Nissim was killed in the First World War, it became a memorial and, on the Count's death, was bequeathed to France.

The Musée Nissim de Camondo has remained unchanged since 1936. Edmund de Waal explores the lavish rooms and detailed archives and uncovers new layers to the family story. In a haunting series of letters addressed to the Count, he tells us what happened next.

A captivating and definitive account of the final days of Van Gogh's life and the incredible story of what followed. Divided into three parts, the book first examines the eventful days from the artists' departure from the asylum in Saint-Remy and arrival in Auvers until the shooting which brought his life to an end. During this time Van Gogh completed 70 paintings in 70 days. The second part delves deeper into the story of the artist's death, which has intrigued both experts and the public for years, revealing little-known stories and uncovering overlooked accounts. We then follow the story of how Van Gogh subsequently rose from relative obscurity to international renown and ultimately fame as one of the most recognisable and popular artists in the world.

No artist captured the glamour of the fin-de-siecle era as definitively as Alphonse Mucha. Dubbed the 'father' of Art Nouveau, this Czech artist transcended the boundaries between commercial and fine art, with his richly decorative images adorning everything from advertising posters to biscuit tins. His highly stylized artwork, evoking a spirit of luxury and leisure, is celebrated in this mini wall calendar. Informative text accompanies each work and the datepad features previous and next month's views.

Bring your favourite scenes from the Harry Potter films to life with the first official Wizarding World watercolour book. Harry Potter: Watercolour Magic includes over 30 easy-to-complete watercolour projects featuring fan-favourite characters, creatures, places and icons from the films. From the classic Hogwarts crest to the Sorting Hat and the Knight Bus, the pages burst with opportunities for fans to create gorgeous Wizarding World art. Each project features a light sketch of the image to get you started plus a list of supplies needed and colours, followed by clear, easy-to-follow instructions to help you recreate the image in minutes. The book is printed on high-quality watercolour paper that you can put paint straight on, and the pages are perforated so they are easy to remove for framing or display. Harry Potter: Watercolour Magic is perfect for artists of every skill level looking for a fun, easy art project. Copyright (c) 2021 Warner Bros. Entertainment Inc. WIZARDING WORLD characters, names and related indicia are (c) & (TM) Warner Bros. Entertainment Inc. - WB SHIELD: (c) & (TM) WBEI. Publishing Rights (c) JKR. (s21)

Covering various design styles to suit your existing decor, from country florals to minimalist neutrals to the rich baroque colours and textures. Beautiful photographs of all finished items are accompanied by practical advice on choosing materials and finishes, hints and tips to avoid problems and pitfalls, and further decorating suggestions. Several techniques are included, from decoupage to pewter-work and mosaics, clearly explained with suggested alternatives. Brimful of inspiration and clever ideas, this title will help you add a touch of style and character to your home in no time without breaking the bank.

This V&A mini art calendar features designs from William Morris, J.H. Dearle, Walter Crane, Sidney Mawson and L. P. Butterfield, whose influences were great drivers of the Arts and Crafts movement. It is a perfect celebration of the design movement that spread rapidly around the world at the end of the nineteenth century. Informative text accompanies each work and the datepad features previous and next month's views.

John Constable was a renowned English painter famous for his revolutionary landscapes. This incredible calendar showcases his talent with 12 of his famous paintings, including Salisbury Cathedral from the Meadows, Flatford Mill ('Scene on a Navigable River'), and Chain Pier, Brighton. Informative text accompanies each work and the datepad features previous and next month's views.

One of Britain's most celebrated and popular artists, J.M.W. Turner was a master painter of landscapes and seascapes. This calendar features a range of Turner's atmospheric depictions of seascapes and landscapes from Tate collections, such as London from Greenwich Park, Chichester Canal, A Ship Aground, Yarmouth; Sample Study and Walton Reach. Informative text accompanies each work and the datepad features previous and next month's views.

Oxford has a special place in the history of Pre-Raphaelitism. Thomas Combe (superintendent of the Clarendon Press) encouraged John Everett Millais and William Holman Hunt at a crucial early stage of their careers, and his collection became the nucleus of the Ashmolean collection of works by the Brotherhood and their associates. Two young undergraduates, William Morris and Edward Burne-Jones, saw the Combe collection and became enthusiastic converts to the movement. With Dante Gabriel Rossetti, in 1857 they undertook the decoration of the debating chamber (now the Old Library) of the Oxford Union. The group's champion John Ruskin also studied in Oxford, where he oversaw the design of the University Museum of Natural History and established the Ruskin School of Drawing. Jane Burden, future wife of Morris and muse (probably also lover) of Rossetti, was a local girl, first spotted at the theatre in Oxford. Oxford's key role in the movement has made it a magnet for important bequests and acquisitions, most recently of Burne-Jones's illustrated letters and paintbrushes. The collection of watercolours and drawings includes a wide variety of appealing works, from Hunt's first drawing on the back of a tiny envelope for The Light of the World (Keble College), to large, elaborate chalk drawings of Jane Morris by Rossetti. It is especially rich in portraits, which throw an intimate light on the friendships and love affairs of the artists, and in landscapes which reflect Ruskin's advice to 'go to nature'. More than just an exhibition catalogue, this book is a showcase of the Ashmolean's incredible collection, and demonstrates the enormous range of Pre-Raphaelite drawing techniques and media, including pencil, pen and ink, chalk, watercolour, bodycolour and metallic paints. It will include designs for stained glass and furniture, as well as preparatory drawings for some of the well-known paintings in the collection.

No artist captured the glamour of the fin-de-siecle era as definitively as Alphonse Mucha. Dubbed the 'father' of Art Nouveau, this Czech artist transcended the boundaries between commercial and fine art, with his richly decorative images adorning everything from advertising posters to biscuit tins. His highly stylized artwork, evoking a spirit of luxury and leisure, is celebrated in this mini wall calendar. Informative text accompanies each work and the datepad features previous and next month's views.

Tamara de Lempicka is one of the most celebrated and recognisable female Art Deco painters in the world. Her distinctive and bold artistic style epitomized the cool yet sensual side of the Art Deco movement. This exquisite calendar features a number of her famous works including Auto-Portrait (Tamara in the Green Bugatti) and Young Lady with Gloves. Informative text accompanies each work and the datepad features previous and next month's views.

Built between 1855 and 1860, Oxford University Museum of Natural History is the extraordinary result of close collaboration between artists and scientists. Inspired by John Ruskin, the architect Benjamin Woodward and the Oxford scientists worked with leading Pre-Raphaelite artists on the design and decoration of the building. The decorative art was modelled on the Pre-Raphaelite principle of meticulous observation of nature, itself indebted to science, while individual artists designed architectural details and carved portrait statues of influential scientists. The entire structure was an experiment in using architecture and art to communicate natural history, modern science and natural theology. 'Temple of Science' sets out the history of the campaign to build the museum before taking the reader on a tour of art in the museum itself. It looks at the facade and the central court, with their beautiful natural history carvings and marble columns illustrating different geological strata, and at the pantheon of scientists. Together they form the world's finest collection of Pre-Raphaelite sculpture. The story of one of the most remarkable collaborations between scientists and artists in European art is told here with lavish illustrations.

A pathbreaking history of art that uses digital research and economic tools to reveal enduring inequities in the formation of the art historical canon Painting by Numbers presents a groundbreaking blend of art historical and social scientific methods to chart, for the first time, the sheer scale of nineteenth-century artistic production. With new quantitative evidence for more than five hundred thousand works of art, Diana Seave Greenwald provides fresh insights into the nineteenth century, and the extent to which art historians have focused on a limited-and potentially biased-sample of artwork from that time. She addresses long-standing questions about the effects of industrialization, gender, and empire on the art world, and she models more expansive approaches for studying art history in the age of the digital humanities. Examining art in France, the United States, and the United Kingdom, Greenwald features datasets created from indices and exhibition catalogs that-to date-have been used primarily as finding aids. From this body of information, she reveals the importance of access to the countryside for painters showing images of nature at the Paris Salon, the ways in which time-consuming domestic responsibilities pushed women artists in the United States to work in lower-prestige genres, and how images of empire were largely absent from the walls of London's Royal Academy at the height of British imperial power. Ultimately, Greenwald considers how many works may have been excluded from art historical inquiry and shows how data can help reintegrate them into the history of art, even after such pieces have disappeared or faded into obscurity. Upending traditional perspectives on the art historical canon, Painting by Numbers offers an innovative look at the nineteenth-century art world and its legacy.

Follow in the footsteps of Vincent Van Gogh, from his birthplace in Zundert, Netherlands, to his last days in Auvers-sur-Oise, France, and explore the hidden inspirations behind the world-renowned artist's most famous paintings in this beautiful art book and travelogue, illustrated with more than 250 black-and-white and full-color images throughout. In 1990, two photographers and art enthusiasts, Danilo De Marco and Mario Dondero, set out to explore the details of Vincent Van Gogh's life, retracing his journey across Europe by foot and by train. Armed with the love and knowledge of Van Gogh's work, they traveled from the Netherlands to England, Belgium, and France to take in the sights as Van Gogh might have seen them a century earlier. They also turned to art historian Gloria Fossi to better understand, experience, and contextualize Van Gogh's brilliant mind, drawing insights from his personal letters and other historical documents. Van Gogh's well-documented travels come alive in this gorgeous book which brings together the landscapes, architecture, portraits, and cultural references that inspired his art. The authors juxtapose vintage and contemporary photographs with Van Gogh's renditions, demonstrating not only the passage of time, but Van Gogh's unique artistic vision, brilliantly revealed brushstroke by brushstroke. From the Netherlands, where the artist was born, to his last days in France, no place he visited in his 37 years is left unexplored, and all have become timeless landmarks through his art. In Search of Van Gogh brings into focus the places and objects that inspired and fueled Van Gogh's artistic genius and offers fresh insights into his prolific work and process. In searching for the artist's mind and soul, the authors create a pointillistic portrait of a human being whose life was remarkable, and whose story must be shared for generations to come.

John Ruskin assembled 1470 diverse works of art for use in the Drawing School he founded at Oxford in 1871. They included drawings by himself and other artists, prints and photographs. This book focuses on highlights of works produced by Ruskin himself. Drawings by John Ruskin are uniquely interesting. Unlike those of a professional artist they were not made in preparation for finished paintings or as works in their own right. Every one - and they number several thousand, depending on what can be considered a separate drawing - is a record of something seen, initially as a memorandum of that observation but with the potential to illustrate his writings or for educational purposes, notably to form part of the teaching collection of the Drawing School he established after election as Slade Professor of Fine Art at Oxford University. In addition, because of the range of interests of arguably the only true polymath of his time, every drawing touches on some interesting aspect of art and architecture, landscape and travel, botany and natural history, often connected with his writings and lectures. Ruskin's life is one of the best documented of any in the 19th century, through letters, diaries and the many autobiographical revelations in his published writings: this allows the opportunity to give almost any drawing a level of context impossible for any other artist. When there is so much background information, a single drawing reveals much about its creator, and becomes a window into the great sprawling edifice of his life and work.

Blake and Tradition is an investigation of the sources of Blake's knowledge of the Neoplatonic and Hermetic tradition and allied currents of thought. The volumes contain what was then new information on Blake's vast fund of exact knowledge in these fields, and Kathleen Raine interprets his works in the light of the ideas that originally inspired and informed them. The core of this important work of scholarship formed the A. W. Mellon Lectures in the Fine Arts in 1962 at the National Gallery of Art in Washington. The expanded, two-volume work was originally published by Routledge & Kegan Paul in 1969.

This is a concise and engaging, yet detailed and informative monograph that explores Gauguin's most Important works. Paul Gauguin (1848-1903) was one of the most important artists of the late 19th century, and one whose work was to have a profound influence on the development of art in the 20th century. He began as an Impressionist, but went on to develop a richly-coloured style in his constant search for pristine originality and unadulterated nature. This concise monograph collects the most important works by Gauguin, not only of his best known paintings of Tahiti in which the artist attempted to reconstruct the perfect life which he had failed to find in reality, but also of many powerful works that reflect the artist's contact with other seminal early modern masters like Van Gogh or Cezanne.

Influenced by the ideas of French Impressionists, artists working in Britain in the late 19th century were referred to as British Impressionists. This exquisite calendar showcases some of the incredible works by artists who contributed to Impressionism in Britain, including Sir George Clausen, Walter Richard Sickert and Philip Wilson Steer. Informative text accompanies each work and the datepad features previous and next month's views.

Combining high-quality production with magnificent fine art, this luxurious week-to-view pocket diary has a foil and embossed cover with magnetic closure. Featuring on its cover an eye-catching design based on L.S. Lowry's famous artwork Coming from the Mill, this diary makes a perfect gift or a special treat just for you.

Miles Edmund Cotman (known to his contemporaries as Edmund) was given the role of sheet anchor to a family of outstanding artists, at the centre of which was his father, the brilliant Norwich School painter John Sell Cotman. Edmund's loyalty was to be detrimental to his own artistic career, and perhaps unfairly, posterity has often dismissed him as an inferior hack artist. While he did not show the genius of his father, he did in fact produce a variety of distinguished and well-executed work. Geoffrey Searle looks at Edmund Cotman's background, the circumstances of his work, and the work itself that survives for us today.Illustrated with a representative sample of Cotman's works (including oils,watercolours and etchings), this is an important addition to the literature about the Norwich School.

Can we really trust the things our bodies tell us about the world? This work reveals how deeply intertwined cultural practices of art and science questioned the authority of the human body in the late eighteenth and early nineteenth centuries. Focusing on Henry Fuseli, Anne-Louis Girodet and Philippe de Loutherbourg, it argues that romantic artworks participated in a widespread crisis concerning the body as a source of reliable scientific knowledge. Rarely discussed sources and new archival material illuminate how artists drew upon contemporary sciences and inverted them, undermining their founding empiricist principles. The result is an alternative history of romantic visual culture that is deeply embroiled in controversies around electricity, mesmerism, physiognomy and other popular sciences. This volume reorients conventional accounts of romanticism and some of its most important artworks, while also putting forward a new model for the kinds of questions that we can ask about them.