Beautifully illustrated and accompanied by extraordinary histories, this book is a celebration of 100 of the most important and exquisite objects in the Royal Museums Greenwich collections, including some of the most significant new acquisitions of the last ten years. From Elizabeth I, the Armada Portrait to the uniform Nelson wore during the Battle of Trafalgar; Harrison's remarkable timepieces to Yinka Shonibare's Ship in a Bottle; the last message of Sir John Franklin's ill-fated expedition to find the North-West Passage to George Stubbs's Kangaroo and Dingo paintings, the Museum's iconic objects are presented in a chronological format, each selected for their unique significance.

The Frans Hals Museum has attracted interest since it opened in 1913. Its collection of Haarlem Old Masters of the Golden Age, including the world's largest collection of paintings by Frans Hals, is unique. The collection reflects the radical changes that painting underwent in the early seventeenth century, with Haarlem providing fertile soil for a new expression of art to flourish. In the same way De Hallen Haarlem provides a platform for innovations in modern and contemporary art, positioning itself unequivocally as the champion of a living culture. In early 2018 the Frans Hals Museum and De Hallen Haarlem, which already operate as a single organisation behind the scenes, will become one museum under the name Frans Hals Museum. Each location will offer a new and distinctive programme of exhibitions in which traditional and contemporary art are shown side by side. The latest title in Scala's Director's Choice series celebrates the coming together of these two art institutions, with a selection of works which speak personally to the Director and reflect the synergy between the two collections.

The title of this book, "Autofocus Retina" means a configuration of four diamond shaped mirrors connoting the inner mechanics of a camera lens: the photographic eye. Lothar Baumgarten (b. Germany 1944, living and working in Berlin/New York) presents a personal selection of photographs, sculpture, drawings and film, from the late 1960s to the present day. The book follows the creative trajectory of an artist who does not comply with the aesthetic vision of art but who continually questions the logic structuring Western thought and systems of representation. It features essays on Baumgarten's work by Hal Foster, Michael Jakob, Craig Owens, Anne Rorimer and Friedrich Wolfram Heubach. Each text has been chosen by the artist himself along with special graphic illustrations and images.

Dada: The Collections of The Museum of Modern Art is the first publication devoted exclusively to MoMA's unrivalled collection of Dada works. Beginning with a core group acquired on the occasion of the landmark Fantastic Art, Dada and Surrealism exhibition of 1936, enriched in 1953 by a bequest selected by Marcel Duchamp, and steadily augmented over the years, the Museum's Dada collection presents the movement in its full international and interdisciplinary scope during its defining years, from 1916 through 1924. Catalyzed by the major Dada exhibition that appeared in Paris, Washington, D.C., and at The Museum of Modern Art in 2005-6, the book benefits from the latest scholarly thinking, not only as found in the exhibition's catalogues but also in the critical responses to them, as well as in an ambitious series of seminars organized around the show. Featuring generously illustrated essays that focus on a selection of the Museum's most important Dada works, this publication highlights works in many media, including books, journals, assemblages, collages, drawings, films, paintings, photographs, photomontages, prints, readymades and reliefs. It also includes a comprehensive catalogue of the Museum's Dada holdings, including those in the Museum's Archives and Library. Edited by Anne Umland and Adrian Sudhalter, members of the Museum's Department of Painting and Sculpture, this book inaugurates an ambitious new series of scholarly catalogues on the Museum's collection.

"When you revisit a place that matters to you for the first time in a long time it is a rich, spiritual experience, but if you then revisit such a place too frequently it loses some of its power. The power lies in the absences." - Christopher Pratt Widely considered to be one of Canada's most prominent and celebrated painters, Christopher Pratt stands with other great artists -- Alex Colville, Lawren P. Harris, Jean Paul Lemieux, and Lionel LeMoine Fitzgerald -- who influenced him and the way he represents the land. But Pratt's greatest influence is perhaps the geography of his home province of Newfoundland. The Places I Go focuses on Pratt's paintings of the last decade, each revealing his observations of a place changing even as it endures. Beginning in 2005, Pratt started to travel by car to "everywhere I've ever been," recording his travels in his "car books," in his memory, and, ultimately, in his paintings. The paintings that resulted from this journey are vintage Pratt. They are also acts of remembering, of recording, of becoming the observer of transformation. Standing on "the littoral," looking toward the horizon, Pratt casts his eye on the perpetual presence of the ocean. Yet, his images -- houses, spillways, bridges, and boats -- also pay homage to the right angles of humanity. Buried in snow, at rest in a dock, they celebrate the built form. This exquisite book, featuring essays by exhibition curator Mireille Eagan, archivist Larry Dohey, and Pratt himself, examines Pratt's interest in and preoccupation with transformation, the act of remembering, and his abstractions of the ineffable.

The volume documents Bellum, the new artistic project by Carlo Valsecchi (Brescia, 1965). The 44 large-scale photographs in this series tell the story of the ancestral conflict between man and nature and man and man; nature used as a defence from others, and nature as something to defend ourselves from. The Alps are a symbol of all this, as nature at its most extreme, yet also the site of the last war of position. The project therefore explores the territories and fortifications of northeast Italy connected to World War I, one of the last times when human fate and experience were directly linked to the laws, conditions and control of nature. In three years of work, Valsecchi roamed these mountains with his view camera from winter until spring, and captured its harsh reality, in a form that is often abstract, intimately aesthetic, and absolute. The images in Bellum are sudden glimpses, portals of light and composition that hover in an endless time between loneliness, isolation and waiting. The catalogue features essays by Florian Ebner, chief curator of the Cabinet of Photography at the Centre Pompidou in Paris, and Yehuda Emmanuel Safran, art and architecture critic and professor at the Pratt Institute in New York. Text in English, German and Italian.

Focusing on the vital role of literature in the development of the artistic practice of Frank Stella (b. 1936), this insightful book looks at four transformative series of prints made between 1984 and 1999. Each of these series is named after a literary work--the Had Gadya (a playful song traditionally sung at the end of the Passover Seder), Italian Folktales, compiled by Italo Calvino, Moby-Dick by Herman Melville, and The Dictionary of Imaginary Places by Alberto Manguel and Gianni Guadalupi. This investigation offers a critical new perspective on Stella: an examination of his interdisciplinary process, literary approach, and interest in the lessons of art history as crucial factors for his artistic development as a printmaker. Mitra Abbaspour, Calvin Brown, and Erica Cooke examine how Stella's dynamic engagement with literature paralleled the artist's experimentation with unconventional printmaking techniques and engendered new ways of representing spatial depth to unleash the narrative potential of abstract forms.

This book explores the achievements of a group of young women artists who learned about the New Art through an extraordinary faculty of innovators at Douglass College. New Art rejected the dominance of Abstract Expressionism, advocating that art should be based on everyday life and that "anything can be art."

A beautiful celebration of six decades of work by Edgar Degas, published in the centennial year of the artist's death Edgar Degas's (1834-1917) relentless experimentation with technical procedures is a hallmark of his lifelong desire to learn. The numerous iterations of compositions and poses suggest an intense self-discipline, as well as a refusal to accept any creative solution as definitive or finite. Published in the centenary year of the artist's death, this book presents an exceptional array of Degas's work, including paintings, drawings, pastels, etchings, monotypes, counter proofs, and sculpture, with approximately sixty key works from private and public collections in Europe and the United States, some of them published here for the first time. Shown together, the impressive works represent well over half a century of innovation and artistic production. Essays by leading Degas scholars and conservation scientists explore his practice and recurring themes of the human figure and landscape. The book opens with a study of Degas's debt to the Old Masters, and it concludes with a consideration of his artistic legacy and his influence on leading artists of the 20th and 21st centuries, including Francis Bacon, Frank Auerbach, Ryan Gander, David Hockney, Howard Hodgkin, R. B. Kitaj, Pablo Picasso, and Walter Sickert. Published in association with the Fitzwilliam Museum, Cambridge Exhibition Schedule: The Fitzwilliam Museum, Cambridge (10/3/17-1/14/18) Denver Art Museum (02/18/18-05/20/18)

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.

"Princeton and the Gothic Revival" investigates America's changing attitudes toward medieval art around the turn of the twentieth century through the lens of Princeton University and its role as a major patron of Gothic Revival art and architecture. Johanna Seasonwein charts a shift from eclecticism to a more unified, "authentic" approach to medieval art, and examines how the language of medieval forms was used to articulate a new model of American higher education in campus design and the classroom.

The catalog for an exhibition at the Princeton University Art Museum, "Princeton and the Gothic Revival" breaks new ground by addressing why universities, and Princeton in particular, were so effective at bringing together what had been disparate interests in the Middle Ages. Revivalists and Medievalists were often at odds, yet at Princeton they used the language of the Middle Ages to create a new identity for the American university, one that was steeped in the traditions of Oxford and Cambridge but also embraced the model of the German research university.

"Princeton and the Gothic Revival" provides an overview of Princeton's Romanesque and Gothic Revival architecture and examines the changing approach to the idea of the "Gothic" by looking at three Princeton buildings and their stained glass windows: the Marquand Chapel, Procter Hall at the Graduate College, and the University Chapel.

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.

The Jablonka Collection is regarded as one of the highest-profile repositories of American and German art of the 1980s. In this catalogue the art dealer, gallerist and curator Rafael Jablonka (*1951) provides for the first time an insight into his wide-ranging collection, which is dedicated primarily to artists of his own generation. Rafael Jablonka has collected art for decades according to the basic principle of assembling multiple works from the different creative phases of artists. With some 120 works -paintings, works on paper, sculpture and installations -the catalogue introduces the oeuvres in question and shows a representative cross-section of the extensive Jablonka Collection, which was presented to the Albertina on permanent loan in 2019.

Published to accompany National Gallery Singapore's inaugural exhibition Siapa Namu Kamu?, this catalogue presents a survey of Singapore art from the 19th century to the present, charting major themes across broad time periods. Over 400 works of art in a wide range of media are brought together to trace the ebb and flow of the history of Singapore art. Curatorial essays provide insight into the exhibition that considers the parameters of time and nation in relation to the history of art in Singapore.

This volume, the second catalogue of the Wyvern Collection, celebrates an outstanding group of medieval ivory carvings and small sculpture, the finest assemblage of its kind in private hands. The book has pieces from every period of the Middle Ages, including rare examples from the Early Christian era; spectacular panels from the workshops of tenth-century Constantinople; objects produced by the celebrated carvers active in south Italy in the eleventh and twelfth centuries; and several important pieces from the Romanesque period. At the heart of the collection is an outstanding group of Gothic ivories whose highlights include one of the most important secular medieval ivories discovered in recent years. The collection also features a number of small amber, hardstone, jet, wood and mother-of-pearl carvings. In addition to their virtuoso craftsmanship, many of these objects have illustrious histories as part of famous aristocratic or ecclesiastical collections. This is a precious opportunity to study these miniature masterpieces.

Jennifer Guidi s sand paintings mix oil paint with sand to create surfaces of color and texture. Evolving from her earlier figurative works, these abstract sand paintings evoke the traditions of landscape and naturalist painting. Accomplished by applying a thick layer of sand to the painted ground and then making precise marks while the sand is still wet, the paintings luminous qualities and their textured relief register and generate minute shifts in perception, creating their own sense of ambient light. These physical and tactile emanations are based on her observations of light in Los Angeles, where she lives and works, and where hazy skies caused by the atmospheric conditions of the West Coast, as well as the city s man-made pollution, make for extra-brilliant sunsets. The fourteen paintings in the exhibition also include Guidi s first triangular-shaped canvases, in a spectrum of colors, placing the organic accumulations of paint and sand within a sharp geometry.

The Museo del Prado not only houses the largest collection of Spanish painting spanning the 15th century to the 19th century, but also represents an entire history of the classical art of western Europe--the exquisite treasures of the royal collections, featuring a wide variety of masters, regions, styles and genres.

A timely reassessment of the artist's early performances and feminist sculptures, affirming their radical engagements and art historical significance This volume is a focused look at two bodies of work, the Tirs ("shooting paintings") and Nanas ("dames"), in the experimental 1960s practice of the French-American artist Niki de Saint Phalle (1930-2002). Alongside a poetic response to the work, four essays treat Saint Phalle's oeuvre as works of radical performance and feminist art, as well as highlighting her transatlantic projects and collaborations. A chronology with photo-documentation and known participants details for the first time all Tirs shooting events in Europe and the United States, and another timeline recaps Saint Phalle's life in the 1960s. Tirs were made by firing a .22 caliber rifle at the surfaces of paintings. The bullets pierced bags of pigment, aerosol paint cans, or even food embedded in dense assemblages covered in painted plaster. Saint Phalle's increasingly liberated female figures with outstretched arms, curvaceous forms, and powerful poses developed into her well-known Nanas, an evolution contemporaneous with the rise of a Euro-American feminist movement. Distributed for the Menil Collection and the Museum of Contemporary Art, San Diego Exhibition Schedule: Menil Collection, Houston (September 10, 2021-January 23, 2022) Museum of Contemporary Art, San Diego (April 9-July 17, 2022)