This volume presents a rich survey of the first Golden Age of European printmaking and reveals important artistic and cultural innovations spurred by the proliferation of etchings, engravings, and woodcuts. Featuring many of the era's most extraordinary and influential prints, Renaissance Impressions includes examples in all graphic media from Europe's major printmaking centres, which disseminated images by the period's greatest artists, among them, Michelangelo, Raphael, and Titian. Through absorbing thematic essays and lively entries on more than 80 prints by master printmakers including Albrecht Durer, Marcantonio Raimondi, and Hendrick Goltzius, this lushly illustrated catalogue explores the pivotal role that prints played in shaping visual culture throughout Europe during the Renaissance. Essays by Arthur J. Di Furia, Jamie Gabbarelli, Sharon Gregory.

This book features the collector/author's well-informed views about a careful selection of mainly 19th century knotted pile carpets and flatwoven covers in various techniques from his own extensive collection, which has been built up over a period of more than five decades. Many of the rugs, which are all of the highest graphic and artistic quality, have been acquired without recourse to the open market and are therefore previously unseen and unpublished. Raoul (Mike) Tschebull's long experience in the genre allows insights that go beyond the conventional wisdom of the traditional antique oriental carpet bazaar. His collecting career began under the aegis of one of the great US collectors of a previous generation, Joseph V. McMullan. This beautifully illustrated book will include a general introduction to the region, which straddles the present-day border between north-western Iran and the Republic of Azerbaijan, setting the context for the focused presentation of some 70 examples, each with the author's comments about design, structure, technique and attribution, providing a matrix within which dating can be considered. In-country field experience colours some of his views, and extracts from his field notes and accompanying images will be included the book.

Thoroughly researched and beautifully produced, this catalogue complements the first comprehensive retrospective in the United States of Imogen Cunningham's work in over thirty-five years. Celebrated American artist Imogen Cunningham (1883-1976) enjoyed a long career as a photographer, creating a large and diverse body of work that underscored her unique vision, versatility, and commitment to the medium. An early feminist and inspiration to future generations, Cunningham intensely engaged with Pictorialism and Modernism; genres of portraiture, landscape, the nude, still life, and street photography; and themes such as flora, dancers and music, hands, and the elderly. Organized chronologically, this volume explores the full range of the artist's life and career. It contains nearly two hundred color images of Cunningham's elegant, poignant, and groundbreaking photographs, both renowned and lesser known, including several that have not been published previously. Essays draw on primary sources at the Imogen Cunningham Trust, the Cunningham papers at the Archives of American Art, and contributing author Susan Ehrens's personal interviews with the artist's associates, incorporating a selection of letters, family albums, and other intimate materials to enrich readers' understanding of Cunningham's motivations and work. This volume is published to accompany an exhibition on view at the J. Paul Getty Museum at the Getty Center September 15, 2020, to January 10, 2021 and at the Seattle Art Museum, February 11 to May 23, 2021.

This catalogue for a show at the Royal Museum of Fine Arts, Brussels, brings Picasso's relationship to abstraction into focus. With more than 120 exceptional works of art in dialogue with some of the great works of the early 20th century abstraction movement, it addresses the major stages that punctuated the links between Picasso's work and the history of abstract art. It covers the period from the first Cubist experiments of 1907, carried out simultaneously with Les Demoiselles d'Avignon, to his later work, which is sometimes situated on the borders of gestural painting.

Telling the story of the flight of the Jews from Egypt based on the biblical book of Exodus, the Haggadah was - and still is - used during the Seder, the ritual meal of the first night of Passover. The text of this remarkable manuscript has been richly illustrated by many artists in different countries for over seven hundred years. With its seventy-fi ve illustrations, occupying the margins of almost every page, this manuscript expresses the elegant language of the Gothic International style in Lombardy. Directly related to the workshop of the renowned master builder, sculptor, and illuminator Giovannino de' Grassi, who fl ourished under the patronage of the noble Visconti family in Milan, the present volume was probably commissioned by a wealthy individual. The presumed date of origin of the Lombard Haggadah corresponds with a period known for its wave of immigration into Lombardy of northern European Jews, who were especially welcomed by Duke Gian Galeazzo Visconti. Last on public exhibition in the Paris World's Fair in 1900, when it belonged to a French family, the Lombard Haggadah was then sold in 1927 in London to the noted collector of Hebrew manuscripts Salman Schocken. Little known, the manuscript has remained in private hands ever since. It survives as the earliest stand-alone Italian Haggadah. Of the greatest rarity, it is one of three illustrated medieval Haggadahs still privately owned. Sharon Liberman Mintz, Curator of Jewish Art, The Jewish Theological Seminary, states "I have worked with Hebrew illuminated manuscripts all of my professional life, and this one stands out for its fresh, charming, and sometimes unique paintings as well as its historical importance".

One of the world's preeminent Abstract Expressionists, California-born painter Sam Francis (1923-1994) first travelled to Japan in 1957, quickly established studios and residences there, and became active in a circle of avant-garde artists, writers, filmmakers, architects, and composers, including members of the nascent Gutai and Mono-ha movements. This book chronicles those connections, as well as his complex and evolving relationship with East Asian aesthetics from the 1950s through the 1990s. From the very first exhibitions Francis had in Tokyo, critics linked his evocative use of negative space with the Japanese concept of "ma", a symbolically rich interval between objects or ideas. This shared pictorial and philosophical syntax laid the foundation for a feedback loop of mutual influence that spurred frequent collaborations between the artist and his Japanese contemporaries, extending into the realms of printmaking, ceramics, music, poetry, publishing, and performance. Written by art critic and curator Richard Speer, with a foreword by Debra Burchett-Lere, executive director/president of the Sam Francis Foundation, this is the first full-length monograph to explore an important but sometimes overlooked milieu in Post-World War II art-a dialogue between Eastern and Western sensibilities that prefigured our current era of global interconnectedness and cross-cultural exchange. Lavishly illustrated with colour plates and archival images, it is an adjunct publication for the related exhibition "Sam Francis and Japan: Emptiness Overflowing" (Los Angeles County Museum of Art, 2021), co-curated by Speer.

""Calvin and Hobbes "both defined its time and yet floated above it. Read it today and it hasn't aged a day; read it today, and tell me you wouldn't drop everything to play Calvinball just once."
---"Entertainment Weekly"
"Exploring Calvin and Hobbes" is the catalogue for an exhibit by the same name at the Billy Ireland Cartoon Museum at Ohio State University, which opened in March 2014. The exhibit is Bill Watterson's personal exploration of how the wonder of "Calvin and Hobbes" came to be. It include soriginal art of" Calvin and Hobbes," along with Watterson's original commentary on each. The show will also include art from cartoonists who Watterson has identified as influential in the development of his art, including "Peanuts, Pogo, Krazy Kat, Doonesbury," Pat Oliphant, Jim Borgman, "Flash Gordon, Bloom County," and Steadman.
The Billy Ireland Cartoon Museum and Library is the repository of the Bill Watterson Deposit Collection (including the entirety of Watterson's "Calvin and Hobbes" artwork).

Everett Spruce came to Texas from his Arkansas home in 1925 to study at the Dallas Art Institute. Over the next seven decades, he became one of the most important painters and teachers in the region. One of the 'Dallas Nine,' a group of influential Texas Regionalists that included Jerry Bywaters, Otis Dozier, William Lester, and others, Spruce was among the artists who lobbied the Texas Centennial Commission for a greater role in the Centennial Exposition of 1936. These efforts, though unsuccessful, nevertheless led to greater recognition and influence for Texas art and artists. Spruce was assistant director and taught art at the Dallas Museum of Fine Arts until 1940 when he joined the faculty of the University of Texas at Austin. He painted and taught at the university for the next 38 years, guiding and shaping the next generation of Texas artists, including Roger Winter, William Hoey, and others. Spruce died in 2002 at the age of 94. Texas Made Modern: The Art of Everett Spruce traces Spruce's artistic evolution from his early experimental work of the 1920s through the mysterious, surrealist-imbued landscapes of the 1930s. The work addresses his boldly expressionistic imagery of the 1940s and his abstract expressionist - inspired paintings of the mid-twentieth century. Departing from previous accounts of Spruce, which label him a prototypical regionalist, this study reveals the nuanced meanings behind the artist's shifting approaches to Texas subject matter and resituates his artwork within the broader narrative of American art.

Paintings featuring harpsichords, virginals and organs offer us a glimpse of gorgeous interiors, amorous scenes and finely-dressed ladies - and the occasional young man too - at the keyboard. Keyboard instruments can also be the key to decoding an allegory, myth or hidden message in a painting. This exhibition catalogue showcases a collection of such paintings and also includes painted harpsichord and virginal lids as well as original instruments. Loans from the National Gallery in London, the Rijksmuseum in Amsterdam, the Suermondt-Ludwigmuseum in Aachen and many other museums and collectors offer a delight for eyes and ears. Featured artists include Frans Floris, Jacob Jordaens, Maerten de Vos, the Francken family, Jan Miense Molenaer, Jan Steen, Gerard Dou, Gabriel Metsu en Jacob Ochtervelt.

Belgian fashion, an important presence on the world couture stage since the 1980s, is the subject of many books, studies, and exhibitions. The focus of attention, however, is often on the Antwerp Fashion Academy and the famous Antwerp Six. This book goes a step further by investigating the influence of Brussels designers and the famous Brussels fashion school, La Cambre, on what is collectively referred to as Belgian fashion, and identifies the people and ideas that set the Brussels fashion world apart.

The Italian goldsmith of the "Paduan School" Giampaolo Babetto is famous for his jewellery - geometrically distinct shapes arranged into refined entities of extraordinary perfection and beauty. However, the artist's wide-ranging spectrum also includes furniture design, silverwork, sculptures, liturgical utensils, and architecture; even his design drawings possess an autonomous character and artistic value. In addition to Christian iconography, his sources of inspiration include the fresco cycles of Renaissance artist Jacopo da Pontormo but also echo Minimalism, Neoplasticism, Neoconstructivism, and "arte programmata/cinetica." The Entity of Being presents the first overarching survey of the virtuoso Babetto. The comprehensive catalogue section is complemented by four contributions that provide exciting insights into the work of this universal artist. Text in English, German and Italian.

The visible world overflows with pictures: more than three billion of them stream across social media every day. This overproduction this excess needs to be managed. Images must be stored, formatted and transported, their flow and exchange must be organised. They require road networks (such as internet cables) and new forms of labour (such as content moderators and clickworkers). And they transform the way we see, mobilising our gaze as never before. The essays and artworks in this catalogue, by observing similar transformations currently affecting our financialised economy in the age of cryptocurrencies, seek to grasp and theorise this new iconomy of the visible. This exhibition catalogue is a collection of short texts providing a wide range of perspectives on the economics of the image and images of the economy. A number of classic essays have also been reproduced, in part or in full. Includes contributions from Emmanuel Alloa, Herve Aubron, Matthias Bruhn, Yves Citton, Elena Esposito, Jean-Joseph Goux, Maurizio Lazzarato, Catherine Malabou, Marta Ponsa, Marie Rebecchi, Antonio Somaini, Peter Szendy, Leah Temper, Elena Vogman and Dork Zabunyan.

Marking the remarkable century of Ben Uri Gallery and Museum, from humble beginnings in London's East End in 1915 to a fully-fledged mainstream art museum, under its banner 'Art, Identity and Migration', this publication vividly illustrates rarely-seen masterworks from its collection by some of the greatest artists of the twentieth century, including Soutine, Chagall, Auerbach, Bomberg, Kitaj and Kossoff. Further highlights include the 'Whitechapel Boys'; Les Peintres Juifs de L'Ecole de Paris, Official War artists from both conflicts; mid-century emigres influencing the direction of the arts, and contemporary artists making ground-breaking work across new media. This unique collection, primarily of artists born into the Jewish faith, many shaping modern British, European and American art history, represents a distinct visual survey of artistic and social life in Britain and the cultural heritage of British Jewry. A range of texts provides a fascinating context for a collection born 'Out of Chaos'.

This exhibition presents a selection of fourteen artists from this collection that show different plastic forms in dialogue with the architectural space. Marisa Garcia Vergara, author of the text of this publication, reviews these works in relation to perception, showing how in art the dimensions of space, and therefore its perception, multiply, as other factors that have to do with memory and the affects involved. This book is a work in collaboration with the artist Fernanda Fragateiro, who has worked just as she builds her works: the arrangement, order and fragments of the works, the archive images... The result is a catalog that looks like an artist book.

Dumbarton Oaks houses the extraordinary art collection begun by Mildred and Robert Woods Bliss. In this book the museum publishes the specialist collections in Byzantine and Pre-Columbian art, along with examples from the Blisses' superb European collection, for the first time.

When Robert Bliss recalled handling a jade Olmec figurine in 1913, he said, "That day, the collector's microbe took root in--it must be confessed--very fertile soil." The Blisses' passion for art bore fruit in a remarkably diverse collection: Flemish tapestries, Renaissance furniture, and paintings by the likes of El Greco, Renoir, and Degas. The celebrated Byzantine collection includes floor mosaics from late antique Antioch, sumptuous jewelry, carved ivory reliefs, liturgical silver, and a comprehensive coin and seals collection. The Pre-Columbian collection showcases fine jade carvings, gold jewelry, monumental sculpture, ritual weaponry, colorful ceramics, and intricately woven textiles.

The publication of this new guidebook coincides with the complete refurbishment of Dumbarton Oaks and the creative reinstallation of the galleries. The curators offer highlights of the collection, accompanied by a lucid and thought-provoking text. "Dumbarton Oaks--The Collections" is intended as a valuable resource and a pleasure to read for scholars and nonspecialists alike.

Is there such a thing as Latin American Art? Does it need this label in a global art world? It is, of course, clear that there is no such thing, just as there is no African nor European art. It would be interesting though to include Caribbean art (which of course doesn't exist either) and talk about specific forms of creolization in the way that Edouard Glissant means it from a global perspective that is not just Western. If we look at different artistic expressions in different local contexts within a geographic and linguistic area called Latin America, the insights we get are very interesting. It might remind us of a kaleidoscope, an ever changing, glittering flux of perspectives on a fluid carrier medium. Through extensive field research involving travel in Argentina, Brazil, Colombia, Honduras, Mexico and Peru, I have been seeking to answer these questions and go into the Looking Glass. Those journeys have included connecting as much as possible with locals and investigating the subject of visual culture through them. In order to learn about local traditions, I have explored a small portion of the Amazonas on the border of Tres Fronteras, and stayed with an indigenous family on one of the Islands of Lake Titicaca. Additionally, in Peru I visited the art school in Cusco which is famous for the Cuzco School paintings. Whether in rural settings or the urban landscapes of Latin America, my approach has always been to be humble, to listen and learn, aware that my perspective is that of a Western woman. The discovery of immense cultural diversity intensely broadened my horizons. In order to develop an understanding of Latin American art, I have realized that attempting to describe it requires an open mind that stretches beyond any pre-conceived Eurocentric notions. Only then it is possible to appreciate the enormous variety of artistic expressions and contexts throughout multiple Latin American regions. The projects described here reflect fifteen collaborations that were carried out, over a period of six years involving thirty-four artists. In some cases, the exchanges included galleries in various Latin American countries. The themes explored were diverse and varied. They ranged from the abstract and highly conceptual to the more tangible and material. Together, the culminating exhibitions have each contributed to exploring essential questions about Latin American Art. The answers, however, are far from simple or complete. Beyond the collection gathered here, the process of discovery continues. So far, I have only witnessed the seedlings of my understanding beginning to emerge. During the process of trying to better understand Latin American Art and through producing exhibitions in Switzerland, as well as curating content in Mexico City and Brazil, it has become clear that cultural bridges can be built through the universal interests that inform artistic expression. These successful projects have demonstrated enormous potential for future artistic collaborations of all sorts. The possibilities are endless. - Andrea Hinteregger De Mayo, 2018. Text in English and Spanish.

This lecture was given by Neil Cox of the University of Essex, one of Britain's leading scholars of Cubism and Surrealism, and a particular authority on Picasso, approaching the Spaniard's work from intriguing angles. He concentrates on a single work, Picasso's "Head" of 1913, and in doing so demonstrates how scrupulous focus can open out challenging perspectives in the work of a great master. Established following the 125th anniversary of the foundation of the Chair of Fine Art at the University of Edinburgh and named after the painter Sir John Watson Gordon, the "Watson Gordon Lectures" typify the longstanding and positive collaboration between the University of Edinburgh and the National Galleries of Scotland: two partners in the Visual Arts Research Institute in Edinburgh.