Toward the end of his monumental career as a painter, sculptor, and lithographer, an elderly, sickly Matisse was unable to stand and use a paintbrush for long. In this late phase of his life-he was almost 80 years of age-he developed the technique of "carving into color," creating bright, bold paper cut-outs. Though dismissed by some contemporary critics as the folly of a senile old man, these gouaches decoupees (gouache cut-outs) in fact represented a revolution in modern art, a whole new medium that reimagined the age-old conflict between color and line. This edition of the first volume of our original award-winning XXL book provides a thorough historical context to Matisse's cut-outs, tracing their roots to his 1930 trip to Tahiti and continuing through to his final years in Nice. It includes many photos of Matisse, as well as some rare images by Henri Cartier-Bresson and the filmmaker F. W. Murnau, with texts by Matisse, publisher E. Teriade, the poets Louis Aragon, Henri Michaux, and Pierre Reverdy, and Matisse's son-in-law Georges Duthuit. In their deceptive simplicity, the cut-outs achieved both a sculptural quality and an early minimalist abstraction, which would profoundly influence generations of artists to come. Exuberant, multi-hued, and often grand in scale, these works are true pillars of 20th-century art, and as bold and innovative to behold today as they were in Matisse's lifetime. About the series TASCHEN is 40! Since we started our work as cultural archaeologists in 1980, TASCHEN has become synonymous with accessible publishing, helping bookworms around the world curate their own library of art, anthropology, and aphrodisia at an unbeatable price. Today we celebrate 40 years of incredible books by staying true to our company credo. The 40 series presents new editions of some of the stars of our program-now more compact, friendly in price, and still realized with the same commitment to impeccable production.

Published to accompany a major new exhibition at the Sainsbury Centre, this book examines the spectacular and controversial vision of art practice that raged across the Western world from the end of the 19th century: Art Nouveau. The role of nature is a key focus of the exhibition. The common theme of translating plants into patterns will be explored as a defining feature of the modern style. Art and objects will represent Art Nouveau from different countries, where it appeared characterised as flowing, tensile line, and dramatic movement, or by organic imagery combined with an informal geometry. Artists and designers include Rene Lalique, Edgar Degas, Charles Rennie Mackintosh, William Morris; Alphonse Mucha and Gabriel Dante Rossetti.

Reconciling Art and Mothering contributes a chorus of new voices to the burgeoning body of scholarship on art and the maternal and, for the first time, focuses exclusively on maternal representations and experiences within visual art throughout the world. This innovative essay collection joins the voices of practicing artists with those of art historians, acknowledging the fluidity of those categories. The twenty-five essays of Reconciling Art and Mothering are grouped into two sections, the first written by art historians and the second by artists. Art historians reflect on the work of artists addressing motherhood-including Marguerite Gerard, Chana Orloff, and Renee Cox-from the early nineteenth century to the present day. Contributions by contemporary artist-mothers, such as Gail Rebhan, Denise Ferris, and Myrel Chernick, point to the influence of past generations of artist-mothers, to the inspiration found in the work of maternally minded literary and cultural theorists, and to attempts to broaden definitions of maternity. Working against a hegemonic construction of motherhood, the contributors discuss complex and diverse feminist mothering experiences, from maternal ambivalence to queer mothering to quests for self-fulfillment. The essays address mothering experiences around the globe, with contributors hailing from North and South America, Europe, Asia, Africa, and Australia.

An original and overdue exploration of the representation of masculinity in British academic art in the late nineteenth and early twentieth centuries, Painted Men in Britain, 1868-1918 analyzes transgressions of gender and sexuality as represented in paintings by Leighton, Sargent, Tuke, and their contemporaries in the Royal Academy. This volume treats paintings as eloquent objects, no narratives of which are too elusive to be traced, and challenges conventional binaries of masculine versus feminine or heterosexual versus homosexual. Consulting not only the paintings themselves but also newspapers, journals, criticism, novels, and poetry of the day, Painted Men argues against the misconception of British academic art as merely reactionary and even blind to the dynamism of its own time. Instead, this art is shown to engage with broader social attitudes and contemporary sexual debates. As the book reveals the complexities of specific paintings, it illuminates different and competing attitudes toward masculinity and modernity in British art of the period.

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.

Students new to the work of William Morris will find the full range of his achievements covered in this reissue of Peter Faulkner's excellent biography, first published in 1980. The author has carefully placed Morris in the context of the Victorian age, but has also suggested the relevance of his ideas today. The six chapters are organised biographically and cover all aspects of Morris's work in poetry, fiction, design and socialist politics.

The emphasis is on his continuous struggle against the age in which he lived, seen as an idealism which went through various stages from the wistfulness of The Earthly Paradise through the practical activities of the firm of Morris & Company to the socialism of Morris's later years. The book quotes freely from writings by Morris which are not easily accessible and gives an overall account from which the student can develop his specialist interests. This reissue will appeal to sixth-formers and undergraduates interested in the Victorian period, as seen through one of its most striking personalities.

When this book appeared in 1980, Morris's reputation had risen again after the low estimates of the interwar period. This was due both to the reappraisal of his politics and to the expanding popularity of his designs. Against the Age offers a clear account of Morris's career for those developing an interest in his numerous achievements. It covers the whole range of Morris's work, and argues for his significance as a writer of both poetry and prose. Since 1980 our knowledge of Morris has been enriched by the publication of Norman Kelvin's edition of his Collected Letters, by the late Nicholas Salmond's editions of his contributions to the socialist journals, by Fiona MacCarthy's biography of 1984, and by the increasing recognition of Morris as a pioneer of environmentalism. However, the book retains its value for its wide coverage and its balanced attitude to Morris's achievements, and for its encouragement to readers to consider the issues that make Morris of continuing importance today.

An overdue study of a groundbreaking event, this is the first book-length examination of the Manchester Art Treasures Exhibition of 1857. Intended to rehabilitate Manchester's image at a heady time of economic prosperity, the Exhibition became a touchstone for aesthetic, social, and economic issues of the mid-nineteenth century. Reverberations of this moment can be followed to the present day in the discipline of art history and its practice in public museums of Europe and America. Highlighting the tension between art and commerce, philanthropy and profit, the book examines the Exhibition's organization and the presentation of the works of art in the purpose-built Art Treasures Palace. Pergam places the Exhibition in the context of contemporary debates about museum architecture and display. With an analysis of the reception of both "Ancient" and "Modern" paintings, the book questions the function of exhibitions in the construction of an art historical canon. The book also provides an essential reference tool: a compiled list of all of the paintings exhibited in 1857 that are now in public collections throughout the world, with an analysis of the collecting trends manifest in their provenance.

Written by a group of highly respected art historians, the fifth edition of this classic book now features full-colour artworks throughout, new chapter introductions, examinations of key ideas, and other helpful pedagogical support. Emphasizing the vitality of 19th-century art, the authors demonstrate how paintings, sculptures, prints and drawings by David, Gericault, Turner, Homer, Cassatt, Rodin, Van Gogh and many others remain relevant today. Using evocative and lucid prose, the authors reveal how concerns about class and gender, race and ethnicity, modernity and tradition, and popular and elite culture - ideas that arose in the course of the 19th century - motivated artists and propelled the movements under review.

A group of primarily Scottish artists (mainly William York Macgregor, Joseph Crawhall, George Henry, Edward Atkinson Hornel, Sir John Lavery and Arthur Melville), the Glasgow Boys were active around the turn of the 20th Century. Though they painted in a number of different styles, they are connected by their rejection of classic Victorian painting. Inspired by the luminous techniques of James McNeil Whistler, they harnessed Impressionistic brushwork and livid realism in their work, trying new methods and everyday settings to create stunning works of art. With over 100 images, and broad introduction, this is a fine addition to Flame Tree's ever-increasing series on painting and illustration, Masterpieces of Art.

Discover the slow, tactile art of hand-building ceramics and express yourself through the act of creating unique, timeless pieces for your home. The Urban Potter teaches you how to make beautiful, one-off handcrafted pieces with simple, natural shapes and neutral tones. Ceramicist Emily Proctor's unique, self-taught style embraces irregularity and asymmetry - here, there is no such thing as perfection, every piece is created through an authentic, intuitive process, with no wheel required. The 24 step-by-step projects include functional homeware such as bowls, plates and vases, as well as other decorative accessories, and are ordered by difficulty, making this book suitable for anyone who wants to play with clay, from beginners through to more seasoned ceramicists. For each project, Emily guides you through the whole process and explains all the techniques involved, from slabbing and pinching, to carving and glazing, while also fully leaning into the joys of slow ceramics and the mindful, patient nature of the art.

It is so good, after so many years of public indifference, even hostility towards Vincent and his work, to feel towards the end of my life that the battle is won.' JO VAN GOGH-BONGER TO GUSTAVE COQUIOT, 1922 'It is a sacrifice for the sake of Vincent's glory.' JO VAN GOGH-BONGER ON THE SALE OF 'THE SUNFLOWERS' TO THE NATIONAL GALLERY, UK, 1924 Little known but no less influential, Jo van Gogh-Bonger was sister-in-law of Vincent van Gogh, wife of his brother, Theo. When the brothers died soon after each other, she took charge of Van Gogh's artistic legacy and devoted the rest of her life to disseminating his work. Despite being widowed with a young son, Jo successfully navigated the male-dominated world of the art market-publishing Van Gogh's letters, organizing exhibitions in the Netherlands and throughout the world, and making strategic sales to private individuals and influential dealers-ultimately establishing Van Gogh's reputation as one of the finest artists of his generation. In doing so, she fundamentally changed how we view the relationship between the artist and his work. She also lived a rich and fascinating life-not only was she friends with eminent writers and artists, but she also was active within the Social Democratic Labour Party and closely involved in emerging women's movements. Using rich source material, including unseen diaries, documents and letters, Hans Luijten charts the multi-faceted life of this visionary woman with the drive to shake the art world to its core.

A new survey of the best works by the elusive and spectacular Spanish Impressionist Joaquin Sorolla. Often compared to his contemporary, the American artist John Singer Sargent, Joaquin Sorolla (1863-1923) was a master draftsman and painter of landscapes, formal portraits, and monumental, historically themed canvases. Highly influenced by French Impressionism, the Valencian artist was a master plein-air painter known for his luminous seaside scenes of frolicking youths and for vivid depictions of Spanish rural life and its pleasures and customs. This beautifully designed and produced volume brings together one hundred of Sorolla's major paintings, selected by his great-granddaughter Blanca Pons-Sorolla, the foremost authority on the artist. Benefiting from close proximity to the artist and his personal archives, she presents an in-depth essay that explores Sorolla's life, work, and remarkable international legacy. With virtually all of the artist's previous publications now out of print, this much-anticipated volume is an important addition to the literature on this great Spanish master.

Gauguin's great diary from Tahiti almost never saw the light of day in its original form. The manuscript was sent by the artist from his island refuge to his friend Charles Morice in Paris, and published in 1901 with immediate success, under the two names of Paul Gauguin and Charles Morice. Morice, with Gauguin's permission, had 'edited' and enlarged it to make it more readable. How much of the charm and crispness of the manuscript had been lost in the process was anyone's guess. It was to be 40 years before Gauguin's original version came to light, and it is published here in a translation by the poet Jonathan Griffin, together with a detailed description by the art historian Jean Loize, who re-discovered the manuscript. Loize shows that Morice had in parts altered Gauguin's text beyond recognition - a startling discovery that entirely changed ideas about Gauguin's style and intentions. This genuine version of Noa-Noa is not only an important document, it is also a beautiful piece of writing: amusing, acid, wide-eyed, moving. Gauguin feared that, unedited, it would seem absurdly crude; and no doubt it would have, to most readers in his day. Today we can appreciate its sketch form, jerky directness, authentic freshness. This edition is illustrated with the watercolours, wood-engravings and drawings that Gauguin assembled for the book.

The perfect gift for fans of classic novels, crafting and puns. ‘There is no gate, no lock, no bolt that you can set upon the freedom of my glue gun.’ This crafting celebration of literary classics will transport you and your scissors far from your kitchen table: allow your Mod Podge to smooth your way into the Gilded Age with ‘The Decoupage of Innocence’, or your craft knife to help you conceal an illicit eBook with ‘Lady Chatterley’s Kindle Cover’. Or simply create the perfect picnic accessory, to be enjoyed alongside some ginger beer with ‘Five Go to Smuggler’s Cake Topper’. From a shelf made of books to paper flowers, Christmas wreaths to table decorations, A Loom of One’s Own is a pun-filled celebration of crafting and writing that will appeal to book lovers or anyone who owns a glue gun.

'A nourishing, occasionally provoking hybrid of group biography, cultural criticism and travelogue that seeks to restore to Romanticism its radicalism, and also show just how much the countryside shaped its manifesto' Hephzibah Anderson, Mail on Sunday '"Romanticism isn't a cultural artefact," [Sampson] writes. "It's a way for thought to move." She is taking her own mind for a walk and [...] the essence is intellectual and fully freighted. The cast list is long and international and the method shifting, subtle and demanding' Adam Nicolson, Guardian For the Romantics, the countryside was a place of radical change. But those real life experiences have been overlaid by two centuries of cliché. To rediscover - and learn from - their radicalism we need to find a fresh approach. In this extraordinary hybrid of scholarship, biography, cultural history, travelogue and lifewriting, acclaimed poet and Romantic biographer Fiona Sampson does just that. As she walks the British countryside, from the Isle of Wight to Kintyre, her evocative and thought-provoking book helps us see clearly what's hiding in plain sight.

Filled with glorious full-color paintings and prints, this is a visually stunning exploration of life during Singapore's first century. Featuring an unmatched collection of topographic prints and glorious full-color paintings, this delightful volume takes readers on an intimate and revealing tour of Singapore through its first century of being. Often published diversely in Europe and America in the accounts of scientific voyages, travel books, and in bound folios, these works portray the experiences of 19th century travellers, reflecting their impressions, prejudices, and insights of life in the new colony. Distinguished by exceptional detail, "Singapore Through 19th Century Prints & Paintings" is an intriguing and insightful visual record of Singapore's past.

Crafting Democracy: Fiber Arts and Activism calls upon craft, during an era of political disruption, as a creative force to voice dissent, express hope, critique the curtailment of civil rights, and to restore dignity to the human experience. The essays and artwork featured in this exhibition catalogue are framed within the context of American democracy and disclose how we, as individuals and as a culture, "craft democracy" and ultimately question what democracy means today. This is the catalogue of an exhibition held at Harold Hacker Hall, Central Library of Rochester [New York] & Monroe County: August-October, 2019. Juilee Decker is associate professor of museum studies at Rochester Institute of Technology. Her publications include the 3rd edition of Museums in Motion: An Introduction to the History and Functions of Museums (2017) and the four-volume series Innovative Approaches for Museums (2015). Hinda Mandell is associate professor in the School of Communication at Rochester Institute of Technology and is a co-editor of Nasty Women and Bad Hombres: Gender and Race in the 2016 U.S. Presidential Election (University of Rochester Press, 2018). She is editor of Crafting Dissent: Handicraft as Protest from the American Revolution to the Pussyhats (forthcoming with Rowman & Littlefield).

Liberty is the last word in bohemian luxury, a destination and brand celebrated for its unique blend of avant-garde design and expert craftsmanship. Liberty: The History celebrates the historic beginnings of the iconic store as well as their contemporary vision – from their 'Eastern Bazaar' of objets d'art, rugs and textiles from Japan and the East to the brand's association with the developing Art Nouveau movement, their whimsical window displays and quintessential Art Fabrics, to the innovations in design and printmaking and the savvy collaborations and creative direction that have kept Liberty at the forefront of the fashion world. With treasures from the Liberty archives including classic silk scarves, designs spanning over a century and original sketches for Liberty Art Fabrics, this is the official invitation into a London institution and a global icon. This deluxe edition features a cloth-bound hardback book, 10 exquisite art prints and a stunning collectible gift box.

Though largely out of the public eye for more than a century, Gustave Caillebotte (1848 - 94) has come to be recognized as one of the most dynamic and original artists of the impressionist movement in Paris. His paintings are favorites of museum-goers, and recent restoration of his work has revealed more color, texture, and detail than was visible before while heightening interest in all of Caillebotte's artwork. This lush companion volume to the National Gallery of Art's major new exhibition, coorganized with the Kimbell Art Museum, explores the power and technical brilliance of his oeuvre. The book features fifty of Caillebotte's strongest paintings, including post-conservation images of Paris Street, Rainy Day, along with The Floorscrapers and Pont de l'Europe, all of which date from a particularly fertile period between 1875 and 1882. The artist was criticized at the time for being too realistic and not impressionistic enough, but he was a pioneer in adopting the angled perspective of a modern camera to compose his scenes. Caillebotte's skill and originality are evident even in the book's reproductions, and essays offer critical insights into his inspiration and subjects. This sumptuously illustrated publication makes clear why Caillebotte is among the most intriguing artists of nineteenth-century France, and it deepens our understanding of the history of impressionism.

This book is about taking an image- a drawing, painting, digital photograph, computer design or photocopy- and, using simple methods, turning it into a piece of textile art. The author takes you through a variety of techniques for creating the image, such as scanning mixed-media artwork and digital photographs, or using imaging software to create exciting patterns and effects. No technical knowledge is required to use this book, as it offers easy-to-follow instructions, and the materials, technology and equipment are all readily available. But at the centre of the book lies the use of stitch. Having produced the image and transferred it to fabric, the next step is to enhance it with hand or machine embroidery. Innovative methods, both in the image transfer and the stitch, are simplified and broken down into the easy stages. Throughout the book, inspirational ideas are offered to get your creativity going. From books to bangles, panels, bags and vessels, the book offers all textile artists ideas to expand their creative work.

Vincent van Gogh's short, passionate life was driven by an almost unimaginable creative energy that eventually overwhelmed him. The outlines of his story - the early strivings in Holland and Paris, the revelatory impact of the move to Provence, the attacks of madness that led ineluctably to his suicide - are almost as familiar as the paintings. Yet it is more than possible that neither the paintings nor Van Gogh's story would have survived at all if it had not been for his remarkable sister-in-law, Jo van Gogh-Bonger. After Vincent's death and that of her husband, his brother Theo, Jo devoted her life to preserving and exhibiting the paintings, and editing the letters. It is in her short and unaccountably neglected biography that we can come closest to Vincent the man.

Impressionists and Politics is an accessible introduction to the current debates about Impressionism. Was the artistic movement really radical and innovative? Is the term "Impressionism" itself an adequate characterization of the movement of painters and critics that took the mid-nineteenth century Paris art world by storm?
By providing an historical background and context, the book places the Impressionists' roots in wider social and economic transformations and explains its militancy, both aesthetic and political.
Impressionists and Politics is a concise history of the movement, from its youthful inception in the 1860s, through to its final years of recognition and then crisis.

This third volume traces the hidden patterns and interlocking themes in the study of art from impressionism to abstract art. Barasch details the immense social changes in the creation, presentation and reception of art that have set the history of art theory on a vertiginous new course.