The book will provides the first detailed history of the Bridgewater collection. The story extends from the 3rd Duke of Bridgewater's purchases in Rome in the 1750s, then on to the major acquisitions of the 1790s (especially from the Orleans collection), then through the incorporation of the collection into the Stafford Gallery by the 2nd Marquess of Stafford (1st Duke of Sutherland), and finally to its reinstallation by Lord Francis Egerton in the new Bridgewater House in 1851. As well as providing a detailed account of the personalities and differing motives of three generations of collectors and owners, the book examines the ways in which the collection was arranged and displayed. It also discusses reactions to it by contemporaries, from sophisticated critics such as William Hazlitt, to the general public, and analyses major publications on it such as the four-volume illustrated catalogue by William Young Ottley of 1818. The illustrations will include many works sold from the collection aft er 1946 and now widely dispersed.

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.

It is many years since a major exhibition in England was devoted to the work of the whole of Samuel Palmer??'s circle, ???The Ancients???, a group of young men which included, among others, the painters George and Welby Sherman, all of whom were much influenced by William Blake. Most recent exhibitions devoted to Palmer himself have stressed his early work of about 1835???35 - much of it done in the village of Shoreham in Kent - at the expense of his still interesting later work. This has tended to give an unbalanced view of the artist, and the present exhibition endeavours to correct this; it also relates Palmer??'s work to other members of the circle, and endeavours to demonstrate that the work of the Ancients is part of a wide European tradition and was created under the influence of artists such as D??rer, Ruisdael, and Nazarenes and especially Claude Lorrain. This fully annotated and illustrated catalogue considers all of these matters and in addition notes the strong literary influences on the work of Palmer, in particular that of the poems of John Milton.

A deep look at a contemporary artist whose work highlights how the rise of technology and corporate capitalism have disrupted our lives and polarized society One of the most thought-provoking artists of his generation, Josh Kline (b. 1979) creates installations, sculptures, videos, and photographs that address the ways new technologies affect how people live and work. Engaging with a range of concerns that impact the entire labor force, from essential workers to the creative class, Kline demonstrates how climate change, automation, disease, and politics have shaped our identities. At a time when so many aspects of life are under threat, Kline takes an unflinching look at how we got here and boldly imagines a more equitable and empathetic future. Kline's art demonstrates the ways technology has widened and reinforced the gap of inequity in America, while also carrying the potential to make a fairer world. "As an artist who's thinking about the consequences of technological innovation," Kline has said, "I think there's an obligation to raise questions about who benefits." His ongoing cycle of installations (Freedom, 2014-16; Unemployment, 2015-16, Civil War, 2016-19; Climate Change, 2019- ) that imagine the next hundred years of society are featured in this book, along with his earlier bodies of work, Creative Labor (2009- ) and Blue Collars (2014- ) and production images and concept sketches for his newest works that are published here for the first time. Distributed for the Whitney Museum of American Art Exhibition Schedule: Whitney Museum of American Art, New York (April 19-August 13, 2023)

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.

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.

A compelling introduction to the life and artistic output of a trailblazing Norwegian painter, printmaker, and horticulturist Nikolai Astrup (1880-1928) was a highly individual Norwegian Modernist artist known for intensely colored paintings and woodcuts of his native landscape. Astrup received a formal art education in Kristiania (now Oslo), Germany, and Paris, but he later rebelled against certain aspects of his training, such as the traditional conventions of optical perspective. He rejected metropolitan cultural centers in favor of his rural childhood home in western Norway, where he produced a remarkable body of work. This volume brings Astrup's life and work to a North American audience, situating him within the history and culture of Norway and late 19th- and early 20th-century art. Astrup's horticultural achievements in the service of his art on the farm where he lived are also explored. The book's beautiful illustrations highlight the intensity of Astrup's palette, the innovative nature of his prints, and the magical realism of his landscapes steeped in folklore and local customs. Distributed for the Clark Art Institute in cooperation with KODE Art Museums and Composer Homes, Bergen, Savings Bank Foundation DNB, and Prince Eugen's Waldemarsudde Exhibition Schedule: Clark Art Institute, Williamstown, MA (June 19-September 19, 2021) KODE Art Museums and Composer Homes, Bergen (October 15, 2021-January 23, 2022) Prince Eugen's Waldemarsudde, Stockholm (February 19-May 29, 2022)

This handsomely illustrated picture book provides a remarkable glimpse of the Paris Jefferson knew--Paris on the eve of the French Revolution. The houses, gardens, bookshops, and landmarks of the time are brought to life through commentary and drawings, paintings, and maps. Originally published in 1976. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Since 2005, the Musee de l'Elysee in Lausanne, Switzerland, has staged an exhibition every five years to review tendencies and to look at perspectives in contemporary photography. reGeneration 4, the exhibition's 2020 edition (from 27 May to 6 September 2020), and the new book accompanying it again features works by emerging international photographic artists. The curators-editors have also asked the participants of the previous editions of 2005, 2010, and 2015 for a statement about their individual artistic evolution. Environmentalism, social equality and inclusion, digitalisation, and securing their own livelihood appear to be their key topics and practical challenges. The book presents these insights alongside depictions of the works by 35 artists selected for reGeneration 4. Brief texts as well as an introductory essay round out this volume. Text in English and French.

Accompanying the innovative new 2019 exhibition `Is This Tomorrow?' at Whitechapel Gallery, this fully-illustrated catalogue re-imagines the classic 1956 publication made for the Gallery's seminal exhibition `This is Tomorrow'. For a major new presentation in 2019, Whitechapel Gallery is taking as a model its groundbreaking 1956 exhibition `This is Tomorrow', an event which is indelibly linked to the institution's history. Organised and developed by architect, writer and sculptor Theo Crosby, `This is Tomorrow' featured 37 artists, architects, designers and writers who worked together in 12 small groups. In the catalogue, Lawrence Alloway introduced the exhibition as `devoted to the possibilities of collaboration', the results of which `appear to be setting up a programme for the future.' `Is This Tomorrow?' will also feature 12 groups of contemporary architects, artists and other cultural practitioners to highlight the potential of collaboration, to address key issues we face today and to offer a vision of the future. Both UK and international participants will explore subjects from conflict and warfare, economic inequality, migration and resource scarcity, to education, labour, trade and technology, comparing and contrasting the ideas of the original `This is Tomorrow' artists and architects whose concerns with communication theory, mass culture and the vernacular reflected their associations with British Constructivism and the Independent Group. The accompanying catalogue will take its inspiration from the original seminal 1956 publication, with each group presenting their process of design and collaboration through plans, sketches and photographs, plus accompanying explanatory texts. Architects featured include Adjaye Associates (UK/US/Ghana), Alberto Kalach/TAX (Mexico), Marina Tabassum Architects (Bangladesh) and Studio Anne Holtrop (Netherlands). Artists featured include Rana Begum, Cecile B. Evans, Simon Fujiwara and Kapwani Kiwanga.

ROTO Review II is a sequel to ROTO Review (published 2014), focussing on the second phase of the programme with beautifully written and thoughtful reviews of the exhibitions: Thought Positions in Sculpture, China East-West, Open House: A Collaboration of Experts, Migrations and Discursive Documents by international academics and art journalists.

In 1971, Laszlo Beke--a renowned Hungarian art historian and curator--asked 28 artists to submit their reaction to the concept "WORK = the DOCUMENTATION OF THE IMAGINATION/IDEA" on A4 sheets. Beke arranged and preserved the contributions in folders, which have been available for viewing over the last 30 years only in his apartment, which has become a center of archival research for artists interested in Conceptual art. This comprehensive documentation is now published in facsimile with English translations, accompanied by Georg Scholhammer's interview with Laszlo Beke and Beke's essay on the context of the project, as well as biographical data on the participants, who include Imre Bak, Miklos Erdely, Gyorgy Jovanovics, Ilona Keseru, Dezso Korniss, Laszlo Lakner, Gyula Pauer, Geza Perneczky, Sandor Pinczehelyi, Tamas Szentjoby and Endre Tot, among others. This volume presents a cornerstone document of Conceptual art in Hungary for the first time.

An essential new look at the design philosophy that interrogated modern living against the turbulent political landscape of 1960s Italy In the mid-1960s, reacting to contemporary social and political upheaval, young Italian architects and designers began developing a new style that openly challenged Modernism. Known as "Radical design," this movement probed possibilities for visually transforming the urban environment. Radical design's proponents also applied it to items such as furniture and lighting, utilizing alternative materials and an innovative formal vocabulary. Radical: Italian Design 1965-1985 surveys the work of these pioneering designers through nearly 70 objects and architectural models-including rare prototypes and limited-production pieces. Cindi Strauss insightfully explores the aesthetic inspiration and changing cultural mores that informed the movement, and her research is complemented by an essay from Germano Celant, the acclaimed author and curator who coined the term "Radical design." Importantly, the book includes seven interviews with Radical designers and architects, offering fresh insights into the individuals who were at the vanguard of this groundbreaking movement. Published in association with the Museum of Fine Arts, Houston Exhibition Schedule: Museum of Fine Arts, Houston (February 14-April 26, 2020) Yale School of Architecture Gallery (September 3-November 20, 2021)

This volume catalogs more than four hundred decorative objects in the Robert Lehman Collection at The Metropolitan Museum of Art, including painted enamels, snuffboxes, porcelain, pottery, ceramics, jewelry, furniture, cast metal, and textiles from throughout Europe and Asia, with the majority dating from the late seventh century to the twentieth century. Highlights include a a superb seventeenth-century oval-shaped watch decorated with enamels by the master Susanne de Court of Limoges; a dazzling domed cup supported by a carved alabaster figure of a bearded Turk, replete with jewels and precious stones, crafted in early eighteenth-century Germany; and a French secretaire from the 1780s set with painted enamels from the famed Sevres Manufactory. Provenance information, exhibition histories, and references are provided, and selected comparative illustrations are incorporated. The volume also includes a bibliography and an index."

Painting, ceramics, sculpture, textile works, immersive installations, performances: the third exhibition at MOCO Hotel des collections is an ode to the Amazon Basin seen through the art and the ecological, economic and political stakes that characterise it. This exhibition catalogue showcases more than a hundred works coming from Catherine Petitgas's collection, based in London. Artists: Sol Calero, Anna Bella Geiger, Teresa Margolles, Beatriz Milhazes, Ernesto Neto, Helio Oiticica, Ivan Serpa, Luiz Zerbini. Text in English and French.

A captivating look at Parisian fashions of the 1960s and how the ready-to-wear revolution influenced haute couture The 1960s was one of the most exciting periods in fashion history, as shifting cultural paradigms were embraced by a generation of designers that challenged conventions and reinvented the fashion industry. This compelling volume focuses on the important but too often dismissed fashions that were created in Paris during this time. From the early couture designs of Yves Saint Laurent that initiated a trend toward a more relaxed and youthful style, to the popularity of ready-to-wear fashions by Emmanuelle Khanh - part of a new group known as the stylists - this book traces the development of Parisian fashion during the 1960s and its continuing legacy. Colleen Hill features eye-catching images from Elle and Vogue, as well as stunning examples of fashion from The Museum at FIT's world-class collection. She provides an in-depth look at the combined influences of French haute couture, ready-to-wear, and popular culture during this era. In doing so, she describes how the dominance of haute couture was challenged by the ready-to-wear movement, resulting in the rise of a vibrant, youthful, and modern aesthetic in Parisian fashion. Published in association with The Fashion Institute of Technology, New York Exhibition Schedule: The Museum at the Fashion Institute of Technology, New York (February-April 2017)

This richly illustrated volume offers an in-depth look into artist Sadie Benning's exhibition Shared Eye, presented at the Renaissance Society and the Kunsthalle Basel. The forty mixed-media panels in Shared Eye defy easy categorization: they include collage, painting, photography, and sculpture. The seriality of the installation also nods to the artist's history with the moving image. Throughout the 1990s, Benning created an extraordinary body of experimental video work, improvising with materials at hand and a toy camera. More than two decades later, in Shared Eye we see the handmade aesthetic, grainy imagery, and durational logic of Benning's early videos take on different forms to correspond to our current moment. The catalog documents the exhibition in full color, and it features an interview between the artist and Julie Ault, essays by John Corbett and Christine Mehring, and an introduction by the Renaissance Society's executive director, Solveig Ovstebo, and Elena Filipovic, director of Kunsthalle Basel. These texts provide illuminating framework for the exhibition and key insights into how Benning pushes the limits of abstraction in response to our present political climate.

The publication, edited and curated by Mary Angela Schroth, recounts the story of the acquisitions of the private collection of Hussain Ali Harba, which began with a painting executed in the 1970s by Fa'iq Hassan, one of the protagonists of Irachi modern art and ends with experimental contemporary artists such as Adel Abidin. Born in Babylon (Iraq) in 1961 and resident in Turin (Italy) since 1979, Harba received his first artwork from his father at the age of 15, and through the years has become one of the most impassioned Iraqi collectors in the world. Together with his family, he is building a private museum in Babylon that will one day permanently house this major collection. The book bears witness to Harba's work of dedication and conservation related to the artistic patrimony of his native country.

Utagawa Hiroshige (1797-1858) is one of the best known of all Japanese woodblock print designers. He is particularly renowned for his landscape prints, which are among the most frequently reproduced of all Japanese works of art. Hiroshige's landscape prints were hugely successful both in Japan and in the West. Their unusual compositions, humorous depictions of people involved in everyday activities and masterly expression of weather, light and seasons, proved enormously influential on many leading European artists. Aimed at a general audience, this book illustrates and discusses 53 Hiroshige landscape prints in the Ashmolean Museum's collection and explores their historical background. It gives a concise introduction to Hiroshige's life and career within the context of Japan's booming nineteenth-century woodblock print industry and explores the development of the landscape print as a new genre in this period. It also discusses and illustrates the process and techniques of traditional Japanese woodblock print-making.