This beautiful publication accompanies an exhibition at the Morgan Library & Museum of the work of Giovanni Battista Piranesi (1720–1778). It is the most important study of Piranesi’s drawings to appear in more than a generation. In a letter written near the end of his life, Giovanni Battista Piranesi explained to his sister that he had lived away from his native Venice because he could find no patrons there willing to support “the sublimity of my ideas.” He resided instead in Rome, where he became internationally famous working as a printmaker, designer, architect, archaeologist, theorist, dealer, and polemicist. While Piranesi’s lasting fame is based above all on his etchings, he was also an intense, accomplished, and versatile draftsman, and much of his work was first developed in vigorous drawings. The Morgan Library& Museum holds what is arguably the largest and most important collection of these works, more than 100 drawings that include early architectural caprices, studies for prints, measured design drawings, sketches for a range of decorative objects, a variety of figural drawings, and views of Rome and Pompeii. These works form the core of the book, which will be published on the occasion of the Morgan’s Spring 2023 exhibition of Piranesi drawings. More than merely an exhibition catalogue or a study of the Morgan’s Piranesi holdings, however, this publication is a monograph that offers a complete survey of Piranesi’s work as a draftsman. It includes discussion of Piranesi’s drawings in public and private collections worldwide, with particular attention paid to the large surviving groups of drawings in New York, Berlin, Hamburg, and London; it also puts the large newly discovered cache of Piranesi material in Karlsruhe in context. The most comprehensive study of Piranesi’s drawings to appear in more than a generation, the book includes more than 200 illustrations, and while focused on the drawings it offers insights on Piranesi’s print publications, his church of Santa Maria del Priorato, and his work as a designer and dealer. In sum, the present work offers a new account of Piranesi’s life and work, based on the evidence of his drawings.

This book accompanies the first exhibition entirely of Jamaican art to take place in the north-west of the UK. The exhibition, Jamaica Making: The Theresa Roberts Art Collection, is sited at the Victoria Gallery and Museum, Liverpool in 2022, and is a comprehensive presentation of the best of Jamaican art since the 1960s. The Theresa Roberts Art Collection is the private collection of Theresa Roberts, a Jamaican-born businesswoman and philanthropist, who has made the UK her home. This collection offers an important insight into the development of Jamaican art since the country gained independence in 1962. Indeed, the exhibition also acts to commemorate the 60th anniversary of Jamaican independence in 2022. Included in the book are the following: an official welcome from the Prime Minister of Jamaica; an essay by the collector, exhibition donor and philanthropist, Theresa Roberts; an introduction by eminent British-Jamaican art historian, Edward Lucie-Smith; essays by Emma Roberts, the exhibition curator (Liverpool John Moores University), Davinia Gregory-Kameka, writer, educator and researcher (Columbia University, USA) and Sireita Mullings, arts practitioner and visual sociologist (University of Bedfordshire). The final section of the book is the full visual catalogue of the Jamaica Making exhibition - a unique record of this historic exhibition. An Open Access edition of this book is available on the Liverpool University Press website and the OAPEN library.

This publication emanates from an exhibition by the same title, displayed for the first time at the Alliance Francaise de Delhi. It is an attempt to trace the development of photography and the other allied visual arts in Pondicherry spanning the late 19th and early 20th centuries. Drawn exclusively from The Alkazi Collection of Photography, at the core of this initiative is the unpublished album by renowned photographer Henri CartierBresson, co-founder of Magnum Photos, who visited the Sri Aurobindo Ashram in April 1950. He took the last pictures of Sri Aurobindo Ghose in the company of his spiritual companion, 'the Mother'. In addition, he meticulously penned his observations almost daily, creating a meta-text around the images, which presents a biographical and anecdotal supplement for his photographic endeavour. The visual material is further enhanced by some extraordinary images of Indian photographers from the same period such as Tara Jauhar and Venkatesh Shirodkar at Aurobindo Ashram, published here for the first time. In this catalogue a conscious effort has been made to bring out a non-linear, yet credible history of how Pondicherry has been witness to the development of a unique visual trajectory. The use of images as 'evidence' and 'document' create a subtle interplay between cultural context and artistic intent, a conceptual linking of mannerisms and tropes those of landscape, architectural and portrait photography.

As the art world eagerly embraces a journalistic approach, Aesthetic Journalism explores why contemporary art exhibitions often consist of interviews, documentaries and reportage. This new mode of journalism is grasping more and more space in modern culture and Cramerotti probes the current merge of art with the sphere of investigative journalism. The attempt to map this field, here defined as 'Aesthetic Journalism', challenges, with clear language, the definitions of both art and journalism, and addresses a new mode of information from the point of view of the reader and viewer. The book explores how the production of truth has shifted from the domain of the news media to that of art and aestheticism. With examples and theories from within the contemporary art and journalistic-scape, the book questions the very foundations of journalism. Aesthethic Journalism suggests future developments of this new relationship between art and documentary journalism, offering itself as a useful tool to audiences, scholars, producers and critics alike.

In Edo Japan, woodblock prints known as ukiyo-e ("pictures of the Floating World") captured the entertainment culture of the urban elite and eventually many other subjects as well. These beautiful prints were the result of a meticulous craft process, in which an artist's initial drawing was translated by expert carvers into multiple printing blocks for different colours. In this attractive volume, Sarah E. Thompson, curator of Japanese art at the Museum of Fine Arts, Boston, provides a highly readable overview of the cultural and artistic history of ukiyo-e, showcasing 120 exceptional prints from the museum's world-class collection, by masters including Utamaro, Hokusai, and Hiroshige. She explores each of the principal genres in turn: beauty and fashion, the kabuki theatre, landscape, nature, history and literature, and fantasy. Pictures of the Floating World features a traditional Japanese stab binding and is housed in a durable slipcase together with three remarkable prints, suitable for framing. It will be a must-have for all art lovers.

The gripping biography of a man and his passion for art. In 1857, George A. Lucas, a young Baltimorean who was fluent in French and enamored of French art, arrived in Paris. There, he established an extensive personal network of celebrated artists and art dealers, becoming the quintessential French connection for American collectors. The most remarkable thing about Lucas was not the art that he acquired for his clients (who included William and Henry Walters, the founders of the Walters Art Museum, and John Taylor Johnston, the founding president of the Metropolitan Museum of Art) but the massive collection of 18,000 paintings, drawings, sculptures, and etchings, as well as 1,500 books, journals, and other sources about French artists, that he acquired for himself. Paintings by Cabanel, Corot, and Daubigny, prints by Whistler, Manet, and Cassatt, and portfolios of information about hundreds of French artists filled his apartment and spilled into the adjacent flat of his mistress. Based primarily on Lucas's notes and diaries, as well as thousands of other archival documents, Stanley Mazaroff's A Paris Life, A Baltimore Treasure tells the fascinating story of how Lucas brought together the most celebrated French artists with the most prominent and wealthy American collectors of the time. It also details how, nearing the end of his life, Lucas struggled to find a future home for his collection, eventually giving it to Baltimore's Maryland Institute. Without the means to care for the collection, the Institute loaned it to the Baltimore Museum of Art, where most of the art was placed in storage and disappeared from public view. But in 1990, when the Institute proposed to auction or otherwise sell the collection, it rose from obscurity, reached new glory as an irreplaceable cultural treasure, and became the subject of an epic battle fought in and out of court that captivated public attention and enflamed the passions of art lovers and museum officials across the nation. A Paris Life, A Baltimore Treasure is a richly illustrated portrayal of Lucas's fascinating life as an agent, connoisseur, and collector of French mid-nineteenth-century art. And, as revealed in the book, following Lucas's death, his enormous collection continued to have a vibrant life of its own, presenting new challenges to museum officials in studying, conserving, displaying, and ultimately saving the collection as an important and intrinsic part of the culture of our time.

The children of Okhla have written and created art about their homes, terraces, mosques, and the villages that their families come from, in a workshop conducted by the authors. This volume brings to light the many stories from this teeming, thriving corner of Delhi, often bypassed in common discourses on the city.My Sweet Home also tries to resolve the many misunderstandings that people have of the place as a Muslim ghetto, through the experiences of some of its younger residents. These stories and drawings reflect the relationships that the children have with their neighbourhood and prompt an intangible connection between the reader-across region, religion, nationality-and this misunderstood, misrepresented neighbourhood.

Emotionally resonant photographs of everyday life in the Jewish Lodz Ghetto taken during WWII From 1941 to 1944, the Polish Jewish photographer Henryk Ross (1910-91) was a member of an official team documenting the implementation of Nazi policies in the Lodz Ghetto. Covertly, he captured on film scores of both quotidian and intimate moments of Jewish life. In 1944, he buried thousands of negatives in an attempt to save this secret record. After the war, Ross returned to Poland to retrieve them. Although some were destroyed by nature and time, many negatives survived. This compelling volume, originally published in 2015 and now available in paperback, presents a selection of Ross's images along with original prints and other archival material including curfew notices and newspapers. The photographs offer a startling and moving representation of one of humanity's greatest tragedies. Striking for both their historical content and artistic quality, his photographs have a raw intimacy and emotional power that remain undiminished. Distributed for the Art Gallery of Ontario

This catalogue accompanies an exhibition at the Barber Institute of Fine Arts that will shine a spotlight on Pieter Brueghel the Younger (1564 - 1637/38), an artist who was hugely successful in his lifetime but whose later reputation has been overshadowed by that of his famous father, Pieter Bruegel the Elder (c.1525 - 1569). Peasants and Proverbs: Pieter Brueghel the Younger as Moralist and Entrepreneur shares recent research into the Barber's comical yet enigmatic little painting, Two Peasants Binding Firewood, setting out fresh insights and offering a new appreciation of a figure whose prodigious output and business skills firmly established and popularised the distinctive 'Brueghelian' look of Netherlandish peasant life. Born in Brussels, Pieter Brueghel the Younger was just five years old when his renowned father died prematurely. Clearly talented, by the time he was around 20 years old, Brueghel the Younger was already registered as a master in Antwerp's Guild of Saint Luke. Between 1588, the year of his marriage, and 1626, he took on nine apprentices, demonstrating that he had established a successful studio. His workshop produced an abundance of paintings, ranging from exact copies of famous compositions by his father, to pastiches and more inventive compositions that further promoted the distinctive Bruegelian 'family style', usually focused on scenes of peasant life. He was, as a consequence, later deemed a second-rate painter, capable of only producing derivative works. This exhibition and book highlight how a more sophisticated understanding is now emerging of a creative and capable artist, and a savvy entrepreneur, who exploited favourable market conditions from his base in cosmopolitan Antwerp. From this deeper understanding of his practice, his favoured subjects and the market for them, we gain a more profound and compelling insight into the society in which he operated and its preoccupations and passions. A dozen other versions of Two Peasants Binding Firewood exist and, by examining some of them alongside the Barber painting, and using the insights gleaned from recent conservation work and technical analysis, the exhibition and book will explore how Brueghel the Younger operated his studio to produce and reproduce paintings, and the extent to which the entire enterprise was motivated by trends in the contemporary art market.

The Hard Gelatin. Hidden Stories from the 80s exhibition arose out of a will to overcome the hegemonic narrative and focus on the unofficial stories of the Spanish Transition. Great achievements were reached in that search for consensus, but the political steps towards democracy, and the modernity and euphoria they brought with them, were parts of a gelatinous facade. The structure was to be more complex and much harder, with a society which seemed unable to face up to its contradictions and dark side. Three writers neatly sum up the spirit of the project with texts which analyse the period: Teresa Grandas, the exhibition's curator, film-maker Pere Portabella and essayist Servando Rocha.

The unicorn tapestries are one of the most popular attractions at The Cloisters, the medieval branch of The Metropolitan Museum of Art. Traditionally known as "The Hunt of the Unicorn," " "this set of seven exquisite and enigmatic tapestries was likely completed between 1495 and 1505. The imaginatively conceived scenes--displaying individualized faces of the hunters and naturalistically depicting the flora and fauna of the landscape--are beautifully captured in silk, wool, and metal yarns.

Written by one of the world's leading authorities on medieval textiles and illustrated with many lovely color reproductions, "The Unicorn Tapestries "traces the origins of the tapestries as well as possible interpretations of their symbolic meaning. This is an essential book for any lover of medieval art and textiles.

At once artist, composer, poet, editor, photographer, curator, gallerist and collector, Edouard Leon Theodore Mesens (1903-1971) was a formidably prolific and visible presence in European Dada and Surrealism. A close friend to Tristan Tzara, Theo van Doesburg and Erik Satie, Mesens orchestrated Rene Magritte's international breakthrough and introduced the Surrealist movement to the United Kingdom, thus forging links between the Belgian, British and French branches of the movement. His collages and artworks, with their vacated spaces and odd geometries, recall the early work of de Chirico or the Dada collages of Raoul Hausmann. This superbly produced volume is the first substantial monograph on Mesens, who has long been a cult figure and object of intrigue (thanks in part to George Melly's account of his menage-a-trois with Mesens and his wife, in his autobiographical writings). Mesens' art and life provide a crucial piece of the Surrealist puzzle.

This book provides an analysis of the forms and functions of Holocaust memorialisation in human rights museums by asking about the impact of global memory politics on how we imagine the present and the future. It compares three human rights museums and their respective emplotment of the Holocaust and seeks to illuminate how, in this specific setting, memory politics simultaneously function as future politics because they delineate a normative ideal of the citizen-subject, its set of values and aspirations for the future: that of the historically aware human rights advocate. More than an ethical practice, engaging with the Holocaust is used as a means of asserting one’s standing on "the right side of history"; the memorialisation of the Holocaust has thus become a means of governmentality, a way of governing contemporary citizen-subjects. The linking of public memory of the Holocaust with the human rights project is often presented as highly beneficial for all members of what is often called the "global community". Yet this book argues that this specific constellation of memory also has the ability to function as an exercise of power, and thus runs the risk of reinforcing structural oppression. With its novel theoretical approach this book not only contributes to Memory Studies but also connects Holocaust memory to Studies of Global Governmentality and the debate on decolonising memory politics.