Warren Hahn inherited his family's German work ethic. He knows the meaning of grueling farm labor, the sweat and toil that come from tilling the land, and the endless hours of work that life on an old homestead demands. He's seen many changes in his life, but at the root of everything are the precious seeds of family and history.

In this autobiographical work, Warren honors his family and the many hardships they endured to start a new life in America in the mid-1800s. His family grew from hardy and hardworking German people who risked everything to create a better future for their children. Warren grew up on tales of the difficult and dangerous ocean crossings, love, adventure, ambition, death, disaster, hardship, and hope; he knew that these stories needed to be preserved and celebrated.

His ancestors settled in the harsh frontier lands of Texas and scrambled to create a future in a hostile, unforgiving environment and time. Now younger generations can come to know the price these strong-willed settlers paid for their family. Offering more than just a family history, he shares the story of his own life in modern-day Gillespie County, Texas.

Every person has a story worth telling. In honor of his family's rich history, Warren has gathered many lifetimes of those stories to inspire future generations.

Author Christos Tzanetakos adheres to the profound statement of Emile Zola: "Civilization will thrive when the last stone from the last church falls on the last priest." This memoir narrates the stories of Tzanetakos' lifelong adventures and presents his thoughts, philosophy, and work regarding atheism. Augmented with photos, "The Life and Work of an Atheist Pioneer" tells of Tzanetakos's childhood, growing up in Greece with his parents and four siblings, and of the seafaring career that took him around the world for ten years before finally settling in Miami, Florida, in 1969. Here he built his business, married, and started a family with his wife, Alice; he also immersed himself in activism for various social issues. "The Life and Work of an Atheist Pioneer" includes interesting and descriptive details from his life, but also discusses how he became a champion in the cause of the separation of church and state and the advancement of atheism.

This stunning catalogue presents for the first time an outstanding group of modern drawings by European and American masters, assembled by the late Howard Karshan and his wife, Linda, who recently presented the works to The Courtauld. Accompanying their exhibition at The Courtauld Gallery, the catalogue features drawings by renowned artists including Paul Cezanne, Wassily Kandinsky, Paul Klee, Willem de Kooning, Philip Guston, Sam Francis, Cy Twombly, Gerhard Richter and Georg Baselitz. The Karshan gift is a significant addition to The Courtauld's collection. The works demonstrate Howard and Linda Karshan's sensibility for the expressive power and rich variety of drawing as an art form. The drawings are characterised by innovative mark-making and distinctive use of line. Examples range from radical watercolours by Cezanne and highly expressive finger drawings in ink by Louis Soutter, to abstract compositions made by Henri Michaux whilst experimenting with Mescalin to explore the subconscious, and on to works by Twombly that further broadened the possibilities of draughtsmanship. The 25 drawings of the Karshan gift will be shown at The Courtauld Gallery when it reopens in late 2021, following a major transformation project. This catalogue will include an interview with Linda Karshan, two essays and a fully illustrated catalogue with detailed entries on each work.

Offering a challenging new argument for the collaborative power of craft, this ground-breaking volume analyses the philosophies, politics and practicalities of collaborative craft work. The book is accessibly organised into four sections covering the cooperation and compromises required by the collaborative process; the potential of recent technological advances for the field of craft; the implications of cross-disciplinary and cross-cultural collaborations for authority and ownership; and the impact of crafted collaborations on the institutions where we work, learn and teach. With cutting-edge essays by established makers and artists such as Allison Smith (US) and Brass Art (UK), curator Lesley Millar, textile designer Trish Belford and distinguished thinker Glenn Adamson, Collaborating Through Craft will be essential reading for students, artists, makers, curators and scholars across a number of fields.

Holy Organ or Unholy Idol? focuses on the significance of the cult of the Sacred Heart of Jesus and its accompanying imagery in eighteenth-century New Spain. Lauren G. Kilroy-Ewbank considers paintings, prints, devotional texts, and archival sources within the Mexican context alongside issues and debates occurring in Europe to situate the New Spanish cult within local and global developments. She examines the iconography of these religious images and frames them within broader socio-political and religious discourses related to the Eucharist, the sun, the Jesuits, scientific and anatomical ideas, and mysticism. Images of the Heart helped to champion the cult's validity as it was attacked by religious reformers.

"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. Unique to other saints in the medieval lexicon, images of Mary Magdalene were altered over time to satisfy the changing needs of her patrons as well as her audience. By shedding light on the relationship between the Magdalene and her patrons, both corporate and private, as well as the religious institutions and regions where her imagery is found, this anthology reveals the flexibility of the Magdalene s character in art and, in essence, the reinvention of her iconography from one generation to the next.

Airfix has been commercially producing plastic kits since 1952 and its models have been made by successive generations of young boys and men alike. In the 1960s, a talented graphic artist called Roy Cross was commissioned to paint some of the box art for Airfix, and for a ten-year-period he provided many of the glorious paintings seen on the boxes, setting new standards for realism and accuracy. Many are still being used today, a full four decades later. Inside the pages of this book are some of Roy's best artworks, shown here in full format and in superb detail, with many reproduced here in book form for the very first time. As well as his vintage box art, Roy has included many sketches and alternative versions of his Airfix box art. After Roy left Airfix in 1974, the company went through a turbulent time. The present owners are Hornby, who have ambitious plans for Airfix and the other brands it acquired including Scalextric and Corgi. The decade that Roy Cross worked for Airfix, though, could be classed as their vintage era, with some of their finest models being produced then in their millions, ready for eager youngsters to build up into detailed miniature models of their favorite aircraft, ships and locomotives.

This stunning catalogue presents The Courtauld's outstanding collection of works by Renaissance artist Girolamo Francesco Maria Mazzola, better known as Parmigianino (1503-1540). This catalogue accompanies a display of works by Parmigianino at The Courtauld, including his famous and enigmatic painting of the Virgin and Child, as well as drawn studies for his most ambitious projects such as the Madonna of the Long Neck and the frescoes of the church of Santa Maria della Steccata in Parma. The latter was the last and most important commission of his life and would have been his triumphal homecoming. Instead, Parmigianino became entangled in his experimental processes and failed to complete it, leading to his brief imprisonment for breach of contract. Fundamentally a draftsman at heart, Parmigianino drew relentlessly during his relatively short life, and around a thousand of his drawings have survived. The Courtauld's collection comprises twenty-four sheets. In preparation for the catalogue, new photography and technical examinations have been carried out on all the works revealing two new drawings that were previously unknown, hidden underneath their historic mounts. They have also helped to better identify connections between some of the drawings and the finished paintings for which they were conceived. The catalogue illustrates the whole Courtauld collection, which also includes two paintings and more than ten prints. As a printmaker, Parmigianino is considered to have been the first to experiment with etching in Italy and was a pioneer of the chiaroscuro woodcut technique. His refined and graceful compositions were much appreciated by his contemporaries and exalted by the artist and biographer Giorgio Vasari (1511-74). This catalogue and display have been curated by Gottardo and Rebecchini in collaboration with former and current research students at The Courtauld, and technical research has been conducted by members of The Courtauld Conservation Institute. A truly collaborative project, the catalogue sheds light on an artist who approached every technique with unprecedented freedom and produced innovative works which were studied and admired by artists and collectors for many years to come.

THE ART OF ANDY GOLDSWORTHY

This is the most comprehensive and detailed study of British artist Andy Goldsworthy, and is the only full-length exploration of Goldsworthy and his art available anywhere.

Fully illustrated, with a revised text. Bibliography and notes.

EXTRACT FROM THE CHAPTER ON GOLDSWORTHY S LEAFWORKS

It is the leafworks that are the most colourful of Andy Goldsworthy s sculptures. What the leaf sculptures show is how beautiful the colours of nature are: Goldsworthy shows the viewer these subtle colours by contrasting one leaf with another. Maple patch grouped the red/ orange/ yellow of Japanese maple leaves together; Poppy leaves contrasted the red poppy leaves against the mid-green of an elderberry bush; a Stone Wood sculpture of 1992 consisted of poppy leaves wrapped around a hazel branch, the red constrasting vividly with the wet green leaves; Dock Leaves interwove red leaves in green grass stalks. Two sycamore leafworks of 1980 and 1981 are very simple: a leaf black from cow shit is placed against pale Autumn leaves; another leaf, bleached white, is set down on a bed of dark leaves. He pins together two colours of sycamore leaves (sycamore is a favourite Goldsworthy medium) in Sycamore leaf sections (1988), and hangs the line of leaves from a tree. Shot with the sun behind them, the photograph of the leaves shows them glowing green and gold, the two classic colours of poetry and alchemy. The Autumnal colours of course connote nostalgia, decadence, sensuality, Romanticism, time passing, the decay of the year, and so on, all those things John Keats wrote about in his Ode: To Autumn, and in a billion other poets art. Goldsworthy s aim in the leaf pieces, though, draws attention to the fragility and delicacy of leaves, as well as their strength and function. A leaf, after all, is a complex biological factory, so the natural scientists say. There is a whole world in a single leaf, remarked Goldsworthy. Goldsworthy s leafworks do not have a scientific agenda. Rather, they celebrate the presence of leaves, the being-in-the-world of leaves, so to speak.

AUTHOR BIOGRAPHY

William Malpas has written books on Richard Long and land art, as well as three books on Andy Goldsworthy, including the forthcoming Andy Goldsworthy In America. Malpas s books on Richard Long and Andy Goldsworthy are the only full-length studies of these artists available.