A professional author of art and literary criticism as well as travel writing, Anna Jameson (1794 1860) journeyed widely in Europe and North America, and moved in the literary circles which included the Brownings and Harriet Martineau. Many of her other works are also reissued in the Cambridge Library Collection. In 1844, she published this book on the great private art collections of London. She begins with an essay on the formation of the collections, from the seventeenth-century earl of Arundel onwards, and then describes in turn the Queen's Gallery, the Bridgewater, Sutherland, Grosvenor and Lansdowne galleries, and the collections of Sir Robert Peel and of the poet Samuel Rogers. For each collection there is an introductory essay, a catalogue raisonnee and a note of the most important items in the collection. This work is a fascinating and valuable guide to mid-nineteenth-century taste and fashion in art."

An innovative new history of Cubism told through some of the most significant artworks ever produced, drawn from a distinguished private collection This groundbreaking new history of Cubism, based on works from the most significant private collection in the world today, is written by many of the field's premier art historians and scholars. The collection, recently donated to The Metropolitan Museum of Art, includes 80 works by Picasso, Braque, Gris, and Leger and is unsurpassed in the number of masterpieces and iconic pieces deemed critical to the development of Cubism. Twenty-two essays explore various facets of Cubism from its origins and consider small groupings of works in light of specific themes-such as a study by neuropsychiatrist Eric Kandel on Cubism and the science of perception. Also included is a fascinating interview in which Lauder discusses his approach to collecting. This is a work to place beside other great histories of Modernism. It is a comprehensive, copiously illustrated book that offers a greater understanding of Cubism and will stand as a resource on this pioneering style for many years to come. Published by The Metropolitan Museum of Art/Distributed by Yale University Press Exhibition Schedule: The Metropolitan Museum of Art (10/20/14-02/16/15)

Lawrence Weiner, born 1942 in the Bronx, New York City, is a key protagonist of early conceptual art. His work is characterised by his use of language as an artistic medium. It is descriptive rather than prescriptive and does not instruct the viewer to perform a particular action or interpret a piece in any unequivocal sense. Rather, it presents the viewer with an infinite number of meanings and equally infinite possibilities for realisation. ATTACHED BY EBB & FLOW is an installation Weiner created for Museo Nivola in Orani, Sardina. The title refers to the tides and relates to Sardinia-born artist Costantino Nivola's experience of exile and relocation, as well the current migrant crisis in the Mediterranean Sea. Sentences are translated from English to Italian to local Sardu, using different words and verbal constructs and presented simultaneously to open manifold possibilities to read and interpret: something may be lost in translation, yet much more can be found. Text in English and Italian.

This study provides an historical context for the origin and evolution of the Spanish tradition of Apocalpyse imagery. The volumes in this series include an introductory text and catalogue raisonnee in chronological sequence in which concise codicological descriptions of each item are given, as well as critical discussions of date and orgin. All the illustrations of each manuscript are reproduced forming a corpus of nearly 2000 illustrations.;The following manuscripts are catalogued and fully illustrated in this volume: the Silos fragment; the Morgan Beatus; Madrid Vitrina 14-1; the Volladolid Beatus; the Tabara Beatus; the Girona Beatus; and the Madrid 14-2 fragment. All inscriptions are transcribed and translated.

An American inventor and entrepreneur, Taliaferro Preston Shaffner (1818-81) collaborated with the Rev. W. Owen on this 'guided tour' of London's 1862 International Exhibition, showcasing Victorian achievements in technology and the arts. Described here are exhibits, originating from Britain, her empire and beyond, which include early washing machines and lawnmowers, as well as grand ideas for metropolitan drainage systems and a Channel Tunnel. The arts are also well covered, with descriptions of the latest fabrics, wallpapers, musical instruments, ceramics and photography. The authors also give background details of how the International Exhibition built upon the success of the Great Exhibition of 1851. Illustrated with sixty full-page steel engravings, this is a highly detailed guide to a very modern event. Also relating to the exhibition, Edward McDermott's Popular Guide and both the official and illustrated catalogues of the industrial department have been reissued in this series.

The German artist Johann David Passavant (1787 1861) visited Britain in 1831 in order to examine works by Raphael in private and public galleries for a book he was preparing. He had not been able to find any helpful German accounts of British collections, and so decided to publish a narrative of his own travels and observations. The British writer and art critic Elizabeth Rigby (later Lady Eastlake) produced a two-volume translation in 1836, believing that English readers would benefit from Passavant's descriptions of little-known collections in their own country, as well as from his practitioner's response to the works themselves. Volume 1 covers the National Gallery, the Royal Academy and the royal collections at Buckingham and Kensington Palaces, Windsor Castle and Hampton Court, as well as the private galleries of aristocrats and wealthy commoners in London and the home counties, ending with the colleges of Oxford."

The German artist Johann David Passavant (1787 1861) visited Britain in 1831 in order to examine works by Raphael in private and public galleries for a book he was preparing. He had not been able to find any helpful German accounts of British collections, and so decided to publish a narrative of his own travels and observations. The British writer and art critic Elizabeth Rigby (later Lady Eastlake) produced a two-volume translation in 1836, believing that English readers would benefit from Passavant's descriptions of little-known collections in their own country, as well as from his practitioner's response to the works themselves. Volume 2 begins with the duke of Marlborough's collection at Blenheim, and continues to cover Chatsworth, Althorpe, Holkham, and other 'country seats', finishing in Cambridge. Passavant also provides a catalogue of drawings at Buckingham Palace, a list of the pictures discussed, and an overview of collections not visited."

The names of Thomas Bewick (1753-1828) and his brother John (1760-1795) are synonymous with beautiful, delicate and accurate woodcuts of the natural world. Their instantly recognisable style was to influence book illustration well into the nineteenth century. The antiquary and print collector Thomas Hugo (1820-76), best known as a collector of Bewick woodcuts, first published this two-volume catalogue of his extensive collection in 1866-8. It has since emerged that many of the items sourced from printers' offices and booksellers across the country - including Thomas Bewick's own publisher, Emerson Charnley - cannot be authenticated as the Bewicks' work. The collection was nonetheless a remarkable assemblage of valuable materials, including uncut first editions, woodblocks, handbills and broadsides (all regrettably dispersed after Hugo's death) which might otherwise have been lost. Lavishly illustrated throughout, Volume 1 comprises the catalogue, which includes an appendix of Bewick portraits, letters and memorabilia.

Georges de La Tour's haunting depiction of a repentant Mary Magdalen gazing into a mirror by candlelight; Jean Simeon Chardin's perfectly balanced image of a young boy making a house of cards; Jean Honore Fragonard's monumental suite of landscapes showing aristocrats at play in picturesque gardens--these are among the familiar and beloved masterpieces in the National Gallery of Art, which houses one of the most important collections of French old master paintings outside France. This lavishly illustrated book, written by leading scholars and the result of years of research and technical analysis, catalogues nearly one hundred paintings, from works by Francois Clouet in the sixteenth century to paintings by elisabeth Louise Vigee Le Brun in the eighteenth.

French art before the revolution is characterized by an astonishing variety of styles and themes and by a consistently high quality of production, the result of an efficient training system developed by the traditional guilds and the Royal Academy of Painting and Sculpture, founded in 1648 by King Louis XIV. The National Gallery collection reflects this quality and diversity, featuring excellent examples by all the leading painters: ideal landscapes by Claude Lorrain and biblical subjects by Nicolas Poussin, two artists who spent most of their careers in Rome; deeply moving religious works by La Tour, Sebastien Bourdon, and Simon Vouet; portraits of the grandest format (Philippe de Champaigne's "Omer Talon") and the most intimate (Nicolas de Largillierre's "Elizabeth Throckmorton"); and familiar scenes of daily life by the Le Nain brothers in the seventeenth century and Chardin in the eighteenth. The Gallery's collection is especially notable for its holdings of eighteenth-century painting, from Jean Antoine Watteau to Hubert Robert, and including marvelous suites of paintings by Francois Boucher and Fragonard. All these works are explored in detailed, readable entries that will appeal as much to the general art lover as to the specialist."

Seen as a step toward addressing this gap, this catalogue seeks to position Mohidin within Berlin art circles of the 1960s, and unravel what could be contingently described as painting from within the tradition. The catalogue also explores the formative role of Mohidin's Pago Pago series not only in his oeuvre, but also in our very ability to write about Southeast Asian history.

A handsome volume of the renowned photographer's work from 2005 to 2021 Best known for his large-scale photographs, carefully constructed "near documentaries" created in collaboration with the subjects, Jeff Wall (b. 1946) is one of the most influential photographers of the late twentieth and early twenty-first centuries. Often displayed as backlit color transparencies, Wall's works have helped define the use of color and painterly sensibilities in contemporary art photography. This volume collects over fifteen years' worth of new work from Jeff Wall in a lavish presentation that includes multiple gatefolds to better convey the scale of Wall's work. As a collection of Wall's most recent work, this volume will include numerous pieces that are as-yet unfamiliar to many of his fans. Chevrier's essay deftly summarizes the varied directions of Wall's recent work and contextualizes them within the body of work that precedes this volume; de Duve's and Campany's wide-ranging conversations with the artist cover the role of performance and the effects of spontaneity and scale, respectively. Distributed for Gagosian

Published on the occasion of the first Italian anthological exhibition dedicated to her, the volume retraces the successful work of Lisette Model, an artist of Austrian origin who had great importance in the development of photography in the Fifties and Sixties. Parallel to her teaching activity - she had among her students authors who later became famous such as Diane Arbus and Larry Fink - Lisette Model was an ironic and irreverent photographer, able to capture in her shots the most grotesque aspects of post-war American society. Alongside the most famous series - such as Promenade des Anglais, created in Nice, or the photographs dedicated to New Yorkers or the very suggestive ones made in jazz clubs - the book also includes lesser-known projects, which account for her personal and sardonic photographic language. The close-up shots, the recurring use of the flash, the exasperated contrasts are the expedients that the author resorts to in order to accentuate the imperfections of the bodies and the coarse gestures of her subjects, transformed into the characters of a sneering human comedy: an approach to reality that made Lisette Model the forerunner of a way of using photography that would find full realisation only in the following decades. Text in English and Italian.

The volume is dedicated to the work of New York-based Croatian artists TARWUK, presented, for the first time in Italy, at the Maramotti Collection in Reggio Emilia. A constant depiction of the human form - exploring the multiple ways it can exist and the flowing, expressive quality of the body - represents the formal result of TARWUK's deep, probing research into identity and the marks that memories and subconscious tensions leave on our bodies, shaping them physically. The artists, who were born in socialist Yugoslavia and grew up in the Balkans during the Croatian War of independence (1991-5), see their anatomically dissected sculptures as symbolising loss and conflict. However, they are also organisms with the potential for regeneration and rebirth: traces of beauty and the opportunity for transcendence can be glimpsed amidst the waste technological materials and signs of devastation. Drawing is another essential part of TARWUK's practice: TARWUK's drawings, which are fully fledged forms of expression, not preparatory works, have a dreamy and immediate quality, with echoes of late 19th-century and early 19th-century symbolism and the Vienna Secession, a period the artists see as a sort of equilibrium, a moment of balance between opposing tensions - death and beauty, decadence and decoration - that competed for dominance. The volume includes a text by Mario Diacono and a conversation between Bob Nickas and TARWUK. Text in English and Italian.

The names of Thomas Bewick (1753-1828) and his brother John (1760-1795) are synonymous with beautiful, delicate and accurate woodcuts of the natural world. Their instantly recognisable style was to influence book illustration well into the nineteenth century. The antiquary and print collector Thomas Hugo (1820-76), best known as a collector of Bewick woodcuts, first published this two-volume catalogue of his extensive collection in 1866-8. It has since emerged that many of the items sourced from printers' offices and booksellers across the country - including Thomas Bewick's own publisher, Emerson Charnley - cannot be authenticated as the Bewicks' work. The collection was nonetheless a remarkable assemblage of valuable materials, including uncut first editions, woodblocks, handbills and broadsides (all regrettably dispersed after Hugo's death) which might otherwise have been lost. Lavishly illustrated throughout, this volume is the 1868 supplement to the catalogue.

Originally published in 1897, this book was written to provide both archaeologists and visitors with an accessible guide to Greek vases in the Fitzwilliam Museum: 'to publish and make accessible to archaeologists a record of the vases it contains, and to assist the visitor, and more especially the student in observing the history and technique of Greek vase-painting'. The text contains illustrations of every vase in the collection, except those that reproduce well-known and common types; these illustrations replace lengthy description and allow for easy identification of subject and style. This is a beautifully presented book that will be of value to anyone with an interest in the collections of the Fitzwilliam Museum, archaeology and Greek vases.

"I was part of Fleur's British Interior Design Exhibition in London in the 1980s. The strength of Fleur's vision defined the event and made participation a real pleasure for me." - John Pawson, Renowned International Minimalist Architect, London The International Interior Design Exhibition (IIDE) came to Brussels in 2019 with heritage. First launched in London by Fleur Rossdale as The British Interior Design Exhibition (BIDE) during the 1980s and '90s, the event was highly acclaimed as a ground-breaking showcase for the design industry. With 30,000 international visitors to each, the exhibition helped propel interior design into the limelight, receiving worldwide press coverage and an insatiable demographic of private clients, hoteliers, designers and developers. Organiser Fleur commented, "Good design has a vital role to play in our everyday lives. It can improve how we live and function, be it at home, in the workplace, in education or on holiday. Interiors set a mood, portraying an identity that should feel enhancing and harmonious". Fleur, an active interior designer herself, chose Brussels for the re-launch due to the cultural heritage, not least as founders of the Art Nouveau movement. Fleur continues, "Decoration is all about bringing together skilled workmanship, colour, texture and fine art to create a melodious interior to enhance our everyday lives". The IIDE followed the ethos of past experience and showcased ten international designers, presenting their interior design vision to inspire private and trade visitors. This luxury coffee table book is a tribute to these new exhibitions, which is complemented by a short history of all previous exhibitions in London.

Shafik Gabr started his collection of Orientalist art in 1993 by acquiring a painting by Ludwig Deutsch entitled Egyptian Priest Entering a Temple. His collection is today amongst the very few in the world to count such a large number of works by the famed Austrian artist as well as some of the finest examples of the greatest masters of Orientalism such as Jean-Leon Gerome, Frederick Arthur Bridgman, Gustav Bauernfeind and many others. Important for both scholars and art lovers, the Shafik Gabr Collection impresses us with its richness and variety. It includes masterpieces by some of the major nineteenth and twentieth century Orientalists found in private hands today and demonstrates the owner's appreciation of differences as well as similarities in European visions of the versatile and diverse Orient. The selection of paintings in this collection illustrates the owner's evolving taste, his relationship with the world of Orientalism and his interest in its European expression. This Orientalist collection is a harmonious "kaleidoscope" of genres, presenting the Orient through a variety of forms, styles and techniques, and revealing to the European viewer the mysterious East with its bright colours, its exotic and leisurely lifestyle. Over the years, it has become one of the most complete and magnificent tributes dedicated to the world of Orientalism and as such some of the most renowned experts in this field have contributed to this book in order to mark its importance in the art world. Lavishly illustrated, Masterpieces of Orientalist Art: The Shafik Gabr Collection also includes essays by distinguished Orientalist scholars.

This book documents a performance event in the Amphitheater in Arles, France, with artists Uri Aran, Daniel Buren, Fischli & Weiss, Jef Geys, Douglas Gordon, Oscar Murillo and Lawrence Weiner, among others. Using imported sand, the space was transformed into a beach and a moonscape.

What began as an effort to prevent the neglect and potential loss of hundreds of African objects at the University of Texas at Austin has evolved into one of the most significant collections on campus. The art collections at Black Studies were born from the John L. Warfield Center for African and African American Studies' Art and Archive Initiative, under the leadership of Cherise Smith, Omi L. Jones, and Edmund T. Gordon. Today Black Studies at the University of Texas boasts approximately 900 objects from sub-Saharan Africa, over 200 contemporary works from African American and Afro-Caribbean artists, and more than 100 pieces jointly held with other collecting entities on campus, adding a diverse richness to the overall collections. Collecting Black Studies gathers and presents these holdings-including costumes, jewelry, paintings, sculptures, works on paper, and photography-and prominently features five Black artists whose work is particularly significant. Scholars and curators examine how John Biggers, Michael Ray Charles, Christina Coleman, Angelbert Metoyer, and Deborah Roberts-artists with deep relationships to Texas-contributed to the Black Studies collections, to art history, and to the culture of our state and beyond.

Celebrated for his classically styled paintings that depict African American men in heroic poses, Kehinde Wiley is among the expanding ranks of prominent black artists - such as Mickalene Thomas, Yinka Shonibare, Kerry James Marshall and Sanford Biggers - who are reworking art history and questioning its depictions of people of colour. This volume surveys Wiley's career from 2001 to the present. It includes early portraits of the men Wiley observed on Harlem's streets, and which laid the foundation for his acclaimed reworkings of Old Master paintings by Titian, van Dyke, Manet and others, in which he replaces historical subjects with young African American men in contemporary attire: puffy jackets, sneakers, hoodies and baseball caps. Also included is a generous selection from Wiley's ongoing World Stage project; several of his enormous Down paintings; striking male portrait busts in bronze; and examples from the artist's new series of stained-glass windows. Accompanying the illustrations are essays that introduce readers to the arc of Wiley's career, its critical reception, and ongoing evolution. Published in association with the Brooklyn Museum, New York.