Luisa Lambri's art revolves around the human condition and its relationship with space, touching on areas such as the politics of representation, architecture, the history of abstract photography, modernism, feminism, identity and memory. The title of the exhibition presented at PAC, in Milan, is a tribute to Carla Lonzi who, in 1969, published "Autoritratto", a collection of interviews with avant-garde artists that revealed their private sides. In the same way, Lambri constructs personal and intimate readings of the subjects of her photographs and encourages a dialogue between the observer, the work of art and the space. Light, time and movement play an important role in her work, where slight differences reflect the artist's movement within the space. Lambri uses architecture to create her images, rather than images to document architecture, revealing negligible details of modernist architecture or iconic minimalist sculptures. At PAC, her works relate to the unique qualities of the architecture designed by Ignazio Gardella, for which the exhibition was specifically developed. Text in English and Italian.

The early decades of the 20th century were marked by artistic, economic, and social transformation in Canada and around the world. Starting in Toronto, a group of young modern artists, including Tom Thomson, Lawren S. Harris, or Emily Carr in British Columbia, desired to create a new painting vocabulary for the young nation coming into its own cultural identity. They turned away from city life and explored Canada's landscape, painting sublime vistas, monumental rivers, ancient forests around the great lakes, the mighty Rocky Mountains, and the arctic tundra, determined to break away from European stylistic traditions Together, their paintings imagined a mythical Canada, expansive and rugged, that added to their country's growing sense of national pride. Featuring paintings, sketches, photographs, film stills, and documentary material, this catalogue examines the language of Canadian modernism. It also includes essays and interviews that offer contemporary indigenous perspectives on the impact of industry on nature, issues surrounding national identity, and modern Canadian landscape painting. This generously illustrated book critically reviews Canada's modernism in art history.

Art collector Anil Relia had always admired the miniature paintings of the Nathdwara school, which grew out of the religious devotation of the Pushti Marg (Path of Grace). On one of his trips to this pilgrimage town, he encountered 'manorath' paintings, whose unusual visual elements attracted his attention immediately. Originally part of the Pushti Marg popular culture, manorath paintings were often commissioned by devout followers as an indelible record of a pilgrimage trip to Nathdwara. Manorath ("mind's vehicle") paintings are a visual representation of the pilgrim's wish to enter into mutual communication with a divine Pushti Marg icon. The popular manoraths in this collection, which employ mixed media and photo-realism techniques, illustrate worshippers in the presence of Shrinathji. These images had a deep emotional resonance for worshippers because they embodied both the corporeal pilgrimage to Nathdwara and also the inner devotional experience itself. As author Isabella Nardi demonstrates, the paintings in this collection are not merely souvenirs of a pilgrimage trip; they represent the worshipper's journey to Nathdwara for a 'darshan' with their beloved and revered deity. With pilgrims as patrons, these manoraths are truly portraits of devotion.

Contemporary artists and writers reflect on the Great Migration and the ways that it continues to inform the Black experience in America The Great Migration (1915-70) saw more than six million African Americans leave the South for destinations across the United States. This incredible dispersal of people across the country transformed nearly every aspect of Black life and culture. Offering a new perspective on this historical phenomenon, this incisive volume presents immersive photography of newly commissioned works of art by Akea, Mark Bradford, Zoe Charlton, Larry W. Cook, Torkwase Dyson, Theaster Gates Jr., Allison Janae Hamilton, Leslie Hewitt, Steffani Jemison, Robert Pruitt, Jamea Richmond-Edwards, and Carrie Mae Weems. The artists investigate their connections to the Deep South through familial stories of perseverance, self-determination, and self-reliance and consider how this history informs their working practices. Essays by Kiese Laymon, Jessica Lynne, Sharifa Rhodes-Pitts, and Willie Jamaal Wright explore how the Great Migration continues to reverberate today in the public and private spheres and examine migration as both a historical and a political consequence, as well as a possibility for reclaiming agency. Published in association with the Baltimore Museum of Art and the Mississippi Museum of Art Exhibition Schedule: Mississippi Museum of Art, Jackson (April 9-September 11, 2022) Baltimore Museum of Art (October 30, 2022-January 29, 2023) Brooklyn Museum (March 3-June 25, 2023) California African American Museum, Los Angeles (August 5, 2023-March 3, 2024)

This volume addresses the question of the relation between sculpture and coins--or large statuary and miniature art--in the private and public domain. It originates in the Harvard Art Museums 2011 Ilse and Leo Mildenberg interdisciplinary symposium celebrating the acquisition of Margarete Bieber's coin collection. The papers examine the function of Greek and Roman portraiture and the importance of coins for its identification and interpretation. The authors are scholars from different backgrounds and present case studies from their individual fields of expertise: sculpture, public monuments, coins, and literary sources. Sculpture and Coins also pays homage to the art historian Margarete Bieber (1879-1978) whose work on ancient theater and Hellenistic sculpture remains seminal. She was the first woman to receive the prestigious travel fellowship from the German Archaeological Institute and the first female professor at the University of Giessen. Dismissed by the Nazis, she came to the United States and taught at Columbia. This publication cannot answer all the questions: its merit is to reopen and broaden a conversation on a topic seldom tackled by numismatists and archaeologists together since the time of Bernard Ashmole, Phyllis Lehmann and Leon Lacroix.

Art for a New Understanding, an exhibition from Crystal Bridges Museum of American Art opening this October, seeks to radically expand and reposition the narrative of American art since 1950 by charting a history of the development of contemporary Indigenous art from the United States and Canada, beginning when artists moved from more regionally-based conversations and practices to national and international contemporary art contexts.This accompanying book documents and expands on the histories and themes of this exciting exhibition. This fully illustrated volume includes essays by art historians and historians and reflections by the artists included in the collection. Also included are key contemporary writings-from the 1950s onward-by artists, scholars, and critics, investigating the themes of transculturalism and pan-Indian identity, traditional practices conducted in radically new ways, displacement, forced migration, shadow histories, the role of personal mythologies as a means to reimagine the future, and much more. As both a survey of the development of Indigenous art from the 1950s to the present and a consideration of Native artists within contemporary art more broadly, Art for a New Understanding expands the definition of American art and sets the tone for future considerations of the subject. It is an essential publication for any institution or individual with an interest in contemporary Native American art, and an invaluable resource in ongoing scholarly considerations of the American contemporary art landscape at large.

A year's worth of tips, techniques, advice and more! Make watercolor a part of your daily life, turning every day into inspiration for your art. Designed to fit your life, Watercolor 365--the first watercolor book of its kind--provides a complete education in the medium, one bite-sized bit of information at a time. Open it daily to find a new tip, idea, technique or challenge...all aimed at getting you into the habit and mindset of an artist. Inside you'll find: 52 mini step-by-step demonstrations (like painting skin tones and adding texture) 52 Q&A's (based on questions received on social media, in workshops, and from blogs) 52 troubleshooting tips (such as how to remove masking fluid that has had too long to dry and how to lift paint) 52 bits of creative advice (suck as why you should consider taking a painting holiday and keeping photographic records of your process) 52 general tips (such as basic composition and transferring images for painting) 52 definitions (clear, concise definitions of terminology, such as value and atmospheric perspective) 52 exercises to improve your artistic skills (simple lessons for techniques like glazing and mixing grays)

An exceptional introduction to European paintings from the Middle Ages to the early 20th century through one of the greatest collections in the world. This richly illustrated and beautifully designed book offers an ideal introduction to European painting from the 13th to the early 20th century. The National Gallery, London, houses one of the finest collections of Western European art in the world. Its extraordinary range includes exceptional paintings from medieval Europe through the early Renaissance and on to Post-Impressionism, including masterpieces by Leonardo, Hans Holbein, Titian, Velazquez, Rembrandt, Turner, Monet, and Van Gogh. This volume showcases more than 250 of the Gallery's most treasured pictures, providing an opportunity to make connections across this uniquely representative collection. Paintings are accompanied by numerous details, as well as brief and illuminating texts, providing an informative and visually rich survey of hundreds of years of European painting. Published by National Gallery Company/Distributed by Yale University Press

Collage is one of the most popular and pervasive of all art-forms, yet this is the first historical survey book ever published on the subject. Featuring over 200 works, ranging from the 1500s to the present day, it offers an entirely new approach. Hitherto, collage has been presented as a twentieth-century phenomenon, linked in particular to Pablo Picasso and Cubism in the years just before the First World War. In Cut and Paste: 400 Years of Collage, we trace its origins back to books and prints of the 1500s, through to the boom in popularity of scrapbooks and do-it-yourself collage during the Victorian period, and then through Cubism, Futurism, Dada and Surrealism. Collage became the technique of choice in the 1960s and 1970s for anti-establishment protest, and in the present day is used by millions of us through digital devices. The definition of collage employed here is a broad one, encompassing cut-and-pasted paper, photography, patchwork, film and digital technology and ranging from work by professionals to unknown makers, amateurs and children. Published to accompany an exhibition at the National Gallery of Scotland, June-October 2019.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

Between 1970 and 1971, Italian artists Paolo Scheggi and Vincenzo Agnetti worked together on a project they called The Temple. Birth of Eidos. Due to Scheggi's untimely death in 1971 at the age of 31, the project remained unfinished. These previously unpublished preparatory sketches, drawings, and notes, which were shown at the Museo Novecento in Florence, are examined in essays by Ilaria Bignotti and Bruno Cora and texts by Germana Agnetti and Cosima Scheggi, daughters of the two artists and directors of their respective archives. The concept of the project was to create a sacred place, a temple, to contain linguistic objects representing primary forms of community, subjectivity and power, linking these with the artistic and theoretical research the two artists were conducting at the time. Agnetti died 10 years after his friend and colleague. His research followed a new route but remained closely linked with that idea born in 1968, that "any work, any artistic object, any gesture is a critical reminder of reality and our existence". (Germana Agnetti).

Hallmarks, guaranteeing the honesty of the metal and maker alike, have been used in Scotland since the sixteenth century. The 550th anniversary of Scottish hallmarking in 2008 is being celebrated with an exhibition in Nation Museums Scotland (25 January - 27 April 08)which gathers together for the first time all the most important examples of marked Scottish silver and gold, most from NMS' unrivalled collections. The exhibition and the accompanying book are concerned not only with silver and gold vessels, from earliest surviving marked examples right up to pieces made today, but also with the people who made them and the people for whom they were made. Objects, historic records, paintings, illustrations and contemporary accounts will be combined to present a dazzling display. The book distils the exhibition, making it a must for silver enthusiasts and collectors everywhere.