This Collector's Edition of Marks of Genius designed in the Bodleian Library is quarterbound in Nigerian goatskin with gold tooling and blind blocking on the spine and front cover, and comes with a matching blocked, lined slipcase. It is limited to 350 individually numbered copies. Every copy is signed by the author and contains a hand-numbered limited declaration. Marks of Genius pays tribute to some of the most remarkable testaments to genius throughout human history, from ancient texts on papyrus and the extraordinary medieval manuscript The Douce Apocalypse to the renowned children's work The Wind in the Willows. Bringing together some of the most impressive treasures from the collections of the Bodleian Libraries, it tells the story of the creation of each work and its afterlife, offering insight into the breadth and depth of its influence as well as its power to fascinate. Illustrating works from Euclid, Dante and Handel to Einstein, Austen and Gandhi, Marks of Genius showcases over 100 books and manuscripts that constitute the pinnacle of human creativity and which we continue to revere and revisit. More information on the Collector's Edition: Limited to 350 copies Printed on Tatami paper with coloured inks Handbound in Finedon, Northamptonshire by the Fine Bindery in Nigerian goatskin Quarter binding and faux vellum, with edges also tipped in goatskin Blocked blind and in gold Presented in a lined slipcase bound in faux vellum with a blind blocked panel and raised printing

A groundbreaking examination of the "double" in modern and contemporary art From ancient mythology to contemporary cinema, the motif of the double-which repeats, duplicates, mirrors, inverts, splits, and reenacts-has captured our imaginations, both attracting and repelling us. The Double examines this essential concept through the lens of art, from modernism to contemporary practice-from the paired paintings of Henri Matisse and Arshile Gorky, to the double line works of Piet Mondrian and Marlow Moss, to Eva Hesse's One More Than One, Lorna Simpson's Two Necklines, Roni Horn's Pair Objects, and Rashid Johnson's The New Negro Escapist Social and Athletic Club (Emmett). James Meyer's survey text explores four modes of doubling: Seeing Double through repetition; Reversal, the inversion or mirroring of an image or form; Dilemma, the staging of an absurd or impossible choice; and the Divided and Doubled Self (split and shadowed selves, personae, fraternal doubles, and pairs). Thought-provoking essays by leading scholars Julia Bryan-Wilson, Tom Gunning, W.J.T. Mitchell, Hillel Schwartz, Shawn Michelle Smith, and Andrew Solomon discuss a host of topics, including the ontology and ethics of the double, the double and psychoanalysis, double consciousness, the doppelganger in silent cinema, and the queer double. Richly illustrated throughout, The Double is a multifaceted exploration of an enduring theme in art, from painting and sculpture to photography, film, video, and performance. Published in association with the National Gallery of Art, Washington, DC Exhibition Schedule National Gallery of Art, Washington, DC July 10-October 31, 2022

This heavily illustrated publication considers the importance of art and design in the lives of composer Benjamin Britten and tenor Peter Pears. Anyone who has visited the Red House in Aldeburgh will have been struck by the range and quality of art collected by Benjamin Britten and, in particular, by Peter Pears. A Musical Eye is illustrated with more than 200 worksfrom the Britten-Pears collection and considers more widely the importance of art and design in their lives and work. There is also a comprehensive checklist of over 300 paintings, prints, drawings and sculptures in the collection with details including size, medium, date and purchase price. The book is edited by former Britten-Pears Foundation Curator Judith LeGrove, who also explains how the collection evolved and provides a checklist of keyworks. Colin Matthews, who worked with Britten and is now BPF's Director of Music, provides an introduction, while the current Curator at The Red House, Caroline Harding, uses correspondence in the BPF archive to explore the patronage by Britten and Pears of a wide range of artists. Julian Potter writes on the friendship between his mother, the artist Mary Potter, and Britten. Broadening the scope of the visual arts, architectural historian AlanPowers considers the buildings commissioned or modified by Britten and Bloomsbury; Britten's work for film; Sidney Nolan's artistic responses to Britten's music; and the designs for Britten's stage works, most notably by John Piper.

The library of the Miramare Castle reveals for the first time its treasure chest of books on botany, flowers, plants and gardens. The rich collection, steeped in the spirit of the 19th century, reflects in the living garden surrounding the castle. A creation at once natural, artificial and artistic, the garden of archduke Ferdinand Maximilian of Habsburg and his consort Charlotte of Belgium embodies an ideal of perfection, beauty and relationship with nature. The botanical library is a garden on paper that guides along a path of dreams and meditations born in a cultivated, aristocratic salon of the 19th century. Text in English and Italian.

The Royal Pavilion and Museums Trust cares for five venues in Brighton and Hove, including the spectacular Royal Pavilion, a royal palace created by George IV as his summer retreat, designed in its final form by John Nash in a Moghul Indian style and set in landscaped picturesque gardens. The Trust's other venues are Brighton Museum and Art Gallery that holds important local history and archaeology, world art, and decorative art collections; Preston Manor a large house preserved in the Edwardian style with a beautiful walled garden; The Booth Museum of natural history; and Hove Museum and Art Gallery. The Trust cares for around one million objects, many of international importance and covering a wide range of subjects and types. In this enjoyable and richly illustrated guide, Hedley Swain, the Trust's CEO, shares highlights from The Trust's vast collections.

Glasgow Museums has the finest collection of Italian paintings of any civic museums service in the UK. It includes some 150 paintings ranging from the late 14th century to the late 19th century. This catalogue begins with an historical introduction to the collection and its donors, and includes 192 colour reproductions.

Presenting unique and in-depth collaborations and editions with leading contemporary artists, Parkett has been the foremost international journal on art for nearly two decades.

Plus, the issue features a special Parkett Inquiry: "Learning from Documenta?" Parkett #65 will feature three of today's most exciting mid-career painters: John Currin, Laura Owens, and Michael Raedecker.

A fascinating view of the career of Bridget Riley, one of the most significant living artists, through her personal archive of her own works on paper Devoted exclusively to the artist's works on paper, Bridget Riley Drawings: From the Artist's Studio explores the importance of these works not only as a means of visual experimentation but as works of art in their own right. Throughout her working life, Riley has preserved works of particular significance, creating an archive that records her constant artistic inquiry and development. The studies presented in the book are drawn entirely from this personal collection, with Riley's own input. They demonstrate the artist's progression from early figurative works, through the monochrome geometry of the 1960s, to the examination of color that has characterized the second half of her long career. The choice of work explores the themes that have absorbed Riley in different periods and highlights key influences: the importance of life drawing to her and the significance of artists such as Seurat and Mondrian. The book illustrates-literally and figuratively-the story of a productive and constantly experimental career, underpinned by drawing. Distributed for Modern Art Press Exhibition Schedule: The Art Institute of Chicago (September 17, 2022-January 16, 2023) Hammer Museum, Los Angeles (January 29-May 7, 2023) The Morgan Library & Museum, New York (June 16-October 22, 2023)

The Bodleian Library possesses a significant collection of Latin medieval manuscripts from Germany, most of them acquired and donated by Archbishop Laud in the 1630s. They are precious survivals from the period of the Thirty Years' War. Their significance arises not just from the number of individual manuscripts but from the fact that they represent substantial portions of the libraries of ecclesiastical houses in Wurzburg, Mainz and Eberbach. This book presents a detailed description of the fifty-six manuscripts from Wurzburg in the Bodleian, most of them from the cathedral chapter (the Domstift St. Kilian). The majority date from the ninth century, and are extremely important from a textual and palaeographical point of view: they constitute the most important single library of Carolingian manuscripts in the British Isles. Wurzburg was one of the leading Anglo-Saxon foundations on the continent of Europe, planting cultural roots which are manifested in almost every aspect of the manuscripts themselves. The catalogue provides authoritative and superbly detailed descriptions of these manuscripts in all their aspects, especially their texts - there are many important early copies of the texts of the Church Fathers - and their scripts, some of whose forms are unique to Wurzburg. Detailed attention is also paid to the physical characteristics of the manuscripts, their decoration, binding, and provenance. Each of the manuscripts is illustrated.

Iconoclasm and the Museum addresses the museum's historic tendency to be silent about destruction through an exploration of institutional attitudes to iconoclasm, or image breaking, and the concept's place in public display. Presenting a selection of focused case studies, Boldrick examines long-standing desires to deface, dismantle, obscure or destroy works of art and historic artefacts, as well as motivations to protect and display broken objects. Considering the effects of iconoclastic practices on artworks and cultural artefacts and how those practices are addressed in institutions, the book examines changing attitudes to the intentional destruction of powerful artworks in the past and present. It ends with an analysis of creative destruction in contemporary art making and proposes that we are entering a new phase for museums, in which they acknowledge the critical roles destruction and loss play in the lives of objects and in contemporary political life. Iconoclasm and the Museum will be important reading for academics and students in fields such as museum and gallery studies, archaeology, art history, arts management, curatorial studies, cultural studies, history, heritage and religious studies. The book should also be of great interest to museum professionals, curators and collections management specialists, and artists.

Parkett 76 features three rising stars of the international art scene: Julie Mehretu, Yang Fudong and Lucy McKenzie. As her marks and gestures are flung into motion upon the canvas, Julie Mehretu paints a picture of an infrastructure gone awry. Their layered, calligraphic density suggests Leonardo da Vinci's ecstatically charged tidal drawings. In the frozen situations encountered in Yang Fudong's images, the viewer must always ask, "Will the protagonist survive?" Fudong's narratives read like brief, melancholic confessions, an "abstract cinema" that, in his own words, functions as "a non-describable collision in one's heart." Over the last decade, Lucy McKenzie has been umbilically attached to Glasgow's underground, guided by her elegant draftsmanship and continuously undermining her own adopted visual rhetoric--which includes facades from Tintin, Socialist mural projects and Mackintoshian Modernism. Texts by Heidi Zuckerman Jacobson, Chris Abani, Madeleine Schuppli, Marcella Beccaria, Yuko Hasegawa, Zhang Wei, Neil Mulholland, Bennett Simpson, Isabelle Graw, Trevor Smith, Philipp Kaiser, Johanna Burton, Vincent Precoil, Hans Rudolf Reust, Matthias Haldemann and Bill Arning.

This handsomely illustrated book is a welcome addition to the history of women during America's Gilded Age. Wanda M. Corn takes as her topic the grand neo-classical Woman's Building at the 1893 Columbian Exposition in Chicago, a structure celebrating modern woman's progress in education, arts, and sciences. Looking closely at the paintings and sculptures women artists made to decorate the structure, including the murals by Mary Cassatt and Mary MacMonnies, Corn uncovers an unspoken but consensual program to visualize a history of the female sex and promote an expansion of modern woman's opportunities. Beautifully written, with informative sidebars by Annelise K. Madsen and artist biographies by Charlene G. Garfinkle, this volume illuminates the originality of the public images female artists created in 1893 and inserts them into the complex discourse of fin de siecle woman's politics. "The Woman's Building" offered female artists an unprecedented opportunity to create public art and imagine an historical narrative that put women rather than men at its center.

Cecily Brown (b.1969, London) is one of the most acclaimed painters working today. Her inimitable style shifts effortlessly between abstraction and figuration, confounding our understanding of these painterly modes and conventions. Published on the occasion of an exhibition at Museo e Real Bosco di Capodimonte, Naples, this lavishly illustrated catalogue is an in-depth look at one of her most conceptually rich and expressive paintings. Cecily Brown: The Triumph of Death delves deep into this gigantic, multi-panel work, which features the figure of Death riding roughshod over a town and its residents. Inspired by a 1446 Italian fresco housed in the Palazzo Abatellis in Palermo, Italy, Brown's The Triumph of Death is the culmination of a fascination with death that has permeated her work for several decades. With an introduction by Sylvain Bellenger and newly commissioned texts by Gavin Delahunty, Catherine Foulkrod and Sergio Risaliti, as well as featuring a set of related, previously unseen drawings, the book provides unparalleled analysis of this extraordinary work. Text in English and Italian.

This scholarly publication presents the work of the designer, painter and illustrator Claude Gillot (1673-1722). The first volume on the artist in English, it accompanies a major exhibition at the Morgan Library& Museum that explores Gillot's inventive and highly original draftsmanship and places his work in the context of artistic and intellectual activity in Paris ca. 1700. The history of eighteenth-century French art under the ancien regime is dominated by great names. But the artistic scene in Paris at the dawn of the century was diverse and included artists who forged careers largely outside of the Royal Academy. Among them was Claude Gillot. Known primarily as a draftsman, Gillot specialized in witty scenes taken from the Italian commedia dell'arte plays performed at fairground theaters and vignettes of satyrs enacting rituals that expose human folly. The book will address Gillot's work as a designer, painter, and book illustrator, and advance a chronology for his career. Crafting a timeline for Gillot's life and work will clarify his relationship with his younger collaborators Antoine Watteau and Nicolas Lancret. Through an artistic biography and six chapters, each devoted to an aspect of his oeuvre, Gillot's role in developing quintessential rococo subjects is established. We follow Gillot from his start as the son of a decorative painter in the bishopric of Langres to his arrival in Paris in the 1690s, as the city and its secular entertainments flourished apart from the royal court at Versailles. Myriad opportunities awaited artists outside official channels, and Gillot built his career working in the theater and as a painter and designer long before seeking official academic status. His involvement with writers, playwrights, and printmakers helped define his sphere. Gillot's preference for theatrical subjects brought him critical attention, and also attracted talented assistants such as Watteau and Lancret. Gillot came to prominence around 1712 working at the Paris Opera and as a printmaker and illustrator of books, lending his droll humor to satires. By 1720, Gillot was enlisted to design costumes for the last royal ballet, one of the final projects of his career. He died nine months after his most celebrated pupil, Watteau. The sale of his estate, which including his designs and many etched copper plates, provided material for printmakers and publishers and ensured Gillot's lasting fame among print connoisseurs. His oeuvre as a draftsman and painter, however, was largely forgotten until drawings and canvases began to emerge in the first half of the twentieth century.

In New York, Jason Nazmiyal has a rug collection like no other. For the past three decades, interior designers and collectors have flocked to his Manhattan gallery to source art for the floor, be it a treasured antique classical carpet, an elegant Art Deco rug, or a Scandinavian minimalist piece. This book delves into the history of the handmade carpet across the world, before looking at the many ways rugs can be used to bring together interiors in a variety of styles. From a Mid-Century Modern residence to a contemporary urban sanctuary and a classic Upper East Side apartment, there is a rug for every space. With stunning interior photography and full of practical advice for the professional decorator as well as the amateur enthusiast, this publication is a useful and beautiful addition to the library of anyone with an interest in interior decoration.

Accompanying an exhibition at Philip Mould & Company, this lavish catalogue tells the story of Vanessa Bell and Duncan Grant's enduring attachment to their home at Charleston Farmhouse, and showcases the work the artists produced between the two world wars. This stunning collection of artwork is beautifully presented alongside illuminating, illustrated essays, an interview and complete catalogue. Vanessa Bell and Duncan Grant's enduring attachment to their home at Charleston Farmhouse, its idyllic surroundings, and constant fl ow of visitors can be witnessed through their art. Beginning with radical modern works influenced by European trends - from painted furniture to depictions of food preparation in the kitchen, from the barns to the pond, the people to the household cat - this catalogue tells a story of over thirty years of astonishing artistic productivity. Charleston was not just the Bloomsbury Group's country retreat but a venue for their progressive social self-expression. It was also a family home. Focusing on Vanessa and Duncan's most productive years of creativity, between and including two world wars, this catalogue will explore how Charleston fed their artistic impulses and ideas to produce a glorious canon of art.

Desperately Young introduces the masterpieces left behind by some of the greatest rising stars in fine art - all of whom died before their thirtieth birthday. Precocious talent seeps from each artist's work, along with a sense of unfulfilled potential. Informative biographies detail their legacies, while their tragic deaths lead us to wonder what heights they might've reached, had their lives not been cut short. Richly illustrated, Desperately Young presents prime examples of each artist's work, demonstrating how our cultural heritage is just a little narrower for their loss. From Europe to America to Japan and the Indian Subcontinent, the mid-14-hundreds to the late 20th century, this book hails the acknowledged greats and introduces those who died before they could leave an indelible mark on history. A compendium of 109 artists who fell prey to sickness, warfare, heartbreak or bad luck, Desperately Young is the only book to provide an in-depth study of artists who died young. Contents: With works from Tommaso Masaccio, Frederic Bazille, Thomas Girtin, Egon Schiele, Henri Regnault, Ernst Klimt, Jeanne Hebuterne, Kaita Murayama, Hermann Stenner, Maurycy Gottlieb, Fyodor Vasilyev, Marie Bashkirtseff, Richard Parkes Bonington, Luisa Anguissola, Walter Deverell, August Macke, Pauline Boty and Jean-Michel Basquiat - among many others.