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 Striking for both their historical content and artistic quality, his photographs have a raw intimacy and emotional power that remain undiminished.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

A journey through M+'s collection and Hong Kong's cultural spaces, telling the story of the city's past and present through its works of art and key landmarks. Key to the M+ collections are objects made in or associated with Hong Kong, from neon signs and advertising ephemera to architectural plans, photographs and artworks, all of which offer new perspectives on contemporary life in the city. Hong Kong Visual Culture: The M+ Guide takes the reader on a journey through the city's modern and contemporary visual culture. The book is arranged into three main sections, with the first focusing on artworks and objects that reflect daily life in Hong Kong; the second documenting the urban environment; and the final section concentrating on artistic perspectives and approaches that demonstrate the city's unique outlook. Also included is a fold-out map by artist Don Mak and a specially commissioned cover. From Cantopop and Zaha Hadid's man-made polished granite mountain to masterpieces of vernacular culture by the calligraphic artist the 'King of Kowloon' and the photographs of Michael Wolf, this richly illustrated book celebrates Hong Kong's significant contribution to global material culture. With 245 illustrations

This book documents a collection of approximately 90 Paracas textiles. The collection consists of cloaks, ponchos, tunics, as well as some smaller fragments such as ribbons. Originally housed at the Ethnographic Museum in Gothenburg, Sweden, the objects were returned to Peru during 2019 and 2020. Paracas textiles tell the story of the people living in Peru more than 2000 years ago and how they saw and viewed the world. In cultures without a written language imagery is very important. Textile pictures were created from the depths of the human senses, from thoughts and dreams. The makers of the Paracas textiles depict fantastic stories from their time and culture about creation, death and thoughts about life. Kerstin Paradis Gustafsson has studied, inventoried and analysed the Paracas textiles for decades, and cracked codes about how they were made. She also has pioneering theories about what they want to say and how the unbroken thread symbolises life. In this text, Kerstin documents and explains the secret behind these fantastic 2000-year-old textiles.

This book presents the story of a unique collection of 140 manuscripts of 'learned magic' that was sold for a fantastic sum within the clandestine channels of the German book trade in the early eighteenth century. The book will interpret this collection from two angles - as an artefact of the early modern book market as well as the longue-duree tradition of Western learned magic -, thus taking a new stance towards scribal texts that are often regarded as eccentric, peripheral, or marginal. The study is structured by the apparent exceptionality, scarcity, and illegality of the collection, and provides chapters on clandestine activities in European book markets, questions of censorship regimes and efficiency, the use of manuscripts in an age of print, and the history of learned magic in early modern Europe. As the collection has survived till this day in Leipzig University Library, the book provides a critical edition of the 1710 selling catalogue, which includes a brief content analysis of all extant manuscripts. The study will be of interest to scholars and students from a variety of fields, such as early modern book history, the history of magic, cultural history, the sociology of religion, or the study of Western esotericism.

Accompanying an exhibition at the Wallace Collection, Inspiring Walt Disney explores the influences of the art and architecture of France on Walt Disney and his studio artists, highlighting in particular the Disney classics of hand-drawn animation, Cinderella (1950) and Beauty and the Beast (1991). Pairing preparatory material from these films - including concept art for talking furniture and fairy-tale castles - with masterpieces from the eighteenth century reveals hidden sources of inspiration and allows us to appreciate the extraordinary talents behind Disney animated films and French decorative arts. Just as the dynamic, twisting movements of the Rococo sought to breathe life into what was essentially inanimate - silver, porcelain, furniture - so too did Disney animators seek to create the illusion of movement, action and emotion. Illustrated with innovative works by artists such as Mary Blair, Hans Bacher and Peter J. Hall, and the animated and anthropomorphic furniture, Sevres porcelain and gilt bronze of rococo designers, the catalogue explores the shared creative roots of these two seemingly disparate artistic realms and looks to revitalise the feelings of excitement, awe and marvel, which both eighteenth-century craftsmen and Disney animators sought to spark in their audiences.

Each year between 1819 and 1825, John Constable (1776-1837) submitted a monumental canvas to the Royal Academy of Arts in London for display in the annual Exhibition. These so-called six-footers vividly captured the life of the River Stour in Suffolk, where Constable grew up and where he returned to paint each year. The Leaping Horse, the last of these, now a major work in the Academy's collection, is the subject of this fascinating new book. Humphreys explores Constable's often avant-garde working methods, as well as his struggle to gain full acceptance within the art establishment of the early nineteenth century. With reproductions of his full-scale preliminary sketches as well as brand new photography of the painting itself, this book is the ideal companion for art lovers who seek a deeper appreciation of Constable's iconic depictions of the English countryside.

This book examines collecting around the world and how women have participated in and formed collections globally. The edited volume builds on recent research and offers a wider lens through which to examine and challenge women's collecting histories. Spanning from the seventeenth century to the twenty-first (although not organized chronologically) the research herein extends beyond European geographies and across time periods; it brings to light new research on how artificiallia and naturallia were collected, transported, exchanged, and/or displayed beyond Europe. Women, Collecting and Cultures Beyond Europe considers collections as points of contact that forged transcultural connections and knowledge exchange. Some authors focus mainly on collectors and what was collected, while others consider taxonomies, travel, patterns of consumption, migration, markets, and the after life of things. In its broad and interdisciplinary approach, this book amplifies women's voices, and aims to position their collecting practices toward new transcultural directions, including women's relation to distinct cultures, customs, and beliefs as well as exposing the challenges women faced when carving a place for themselves within global networks. This study will be of interest to scholars working in collections and collecting, conservation, museum studies, art history, women's studies, material and visual cultures, Indigenous studies, textile histories, global studies, history of science, social and cultural histories.

Michael Audain and Yoshiko Kurosawa are two of Canada's best-known art patrons: their donations are held not only by many private corporations but by many museums and galleries, including the National Gallery of Canada, and Vancouver Art Gallery. The collection contains works by a range of North America's most acclaimed artists, including Diego Rivera, Emily Carr and Brian Jungen. This is the first public exhibition of the privately held works in this collection. FEATURED WORKS Mid-nineteenth-century masks by Haida, Nuxalk, Salish, Tlingit and Tsimshian Contemporary works by such First Nations artists as Robert Davidson, Reg Davidson, Beau Dick, Richard Hunt, Brian Jungen, Marianne Nicolson and Lawrence Paul Yuxweluptun Paintings by Emily Carr, B.C. Binning and E.J. Hughes, and contemporary works by Roy Arden, Gathie Falk, Rodney Graham, Angela Grossman, Ken Lum, Takao Tanabe and Etienne Zack. Mexican modernist works by Diego Rivera, Rufino Tamayo and others.

This vibrant reference guide profiles 50 major artists alongside their representative works. The entries are presented in an eye-catching format that includes brief biographies and critical analyses, alongside illustrations of the artists' most famous works. Featuring 200 full colour illustrations this book also includes a glossary of important terms, information about relevant movements and techniques, and a timeline that puts the artists in context. Arranged chronologically, the selection of artists includes every major artistic movement and development since the Gothic period, giving readers a clear understanding of the evolution of the visual arts. Perfect for casual reading or easy reference, this accessible overview is a fun and practical art history lesson that everyone can enjoy.

From aesthetic promenades in noble palaces to the performativity of religious apparatus, this edited volume reconsiders some of the events, habits and spaces that contributed to defining exhibition practices and shaping the imagery of the exhibition space in the early modern period. The contributors encourage connections between art history, exhibition studies, and architectural history, and explore micro-histories and long-term changes in order to open new perspectives for studying these pioneering exhibition-making practices. Aiming to understand what spaces have done and still do to art, the book explores an underdeveloped area in the field that has yet to trace its interdisciplinary nature and understand its place in the history of art. The book will be of interest to scholars working in art history, museum studies, exhibition history, and architectural history.

Join Chris Ayers and his menagerie as they make their Parisian debut on the walls of Galerie Daniel Maghen. Fifty-eight pieces were created especially for the gallery show in year six of The Daily Zoo and they are all captured in this book in their full glory. Do not miss meeting Le Chic Sheep, Le Penseur (The Thinker), Alien Accountant and Rosie On Skates, to name only a few, as they are certain to become close cartoon friends.

Featuring striking full-colour images and new research, this publication from the Hong Kong Palace Museum celebrates some of the most important works of horse art from the Palace Museum and the Louvre Museum. Five essays and forty-five entries highlight objects dating from the Han (206 BCE-220 CE) to Qing (1644-1911) dynasties, and explore the horse in art in a way that is accessible to general readers, encouraging them to think through comparisons with objects from both institutions. Centred on the question of human connection to the horse across time in China and beyond, the catalogue entries are divided into sections that examine the horse in mythology and religion, military culture, and transnational traversals, providing a means for reflecting on fundamental issues of human creativity, ambition, and tradition. This is a beautifully designed and thought-provoking volume that will find a ready market among those with an interest in Chinese art and culture. Published to celebrate the opening of the new Hong Kong Palace Museum in July 2022, Grand Gallop accompanies a major exhibition of the same name that is expected to generate significant media attention.

India, Jewels that Enchanted the World presents for the first time the remarkable history and unique legacy of 500 years of Indian jewellery, from the 17th century to the present. The essays, all written by leading international scholars, explore the rich, distinctive, and unique heritage of Indian jewellery; the striking boldness of South Indian ornaments; the delicate refinement of the Mughal period; the dazzling jewels of the post-Mughal maharajas; the cross-cultural influences between Europe and India in the 19th and early 20th centuries; and the creations of leading contemporary designers whose jewels display the enduring beauty of Indian design and craftsmanship. Published to accompany a major exhibition at the State Museums of the Moscow Kremlin organised jointly with the Indo-Russian Jewellery Foundation, this lavishly illustrated catalogue brings together royal, ceremonial, and personal Indian jewels to showcase the entire range and variety of the jeweller's art in India.

During the Renaissance, artists and illustrators developed the representation of truthful three-dimensional forms into a highly skilled art. As reliable illustrations of three-dimensional subjects became more prevalent, they also influenced the way in which disciplines developed: architecture could be communicated much more clearly, mathematical concepts and astronomical observations could be quickly relayed, observations of the natural world moved towards a more realistic method of depiction. Through essays on some of the world's greatest artists and thinkers (Leonardo da Vinci, Euclid, Andreas Vesalius, William Hunter, Johannes Kepler, Andrea Palladio, Galileo Galilei, among many others), this book tells the story of the development of the techniques used to communicate three-dimensional forms on the two-dimensional page and contemporary media. It features Leonardo da Vinci's groundbreaking drawings in his notebooks and other manuscripts, extraordinary anatomical illustrations, early paper engineering including volvelles and tabs, beautiful architectural plans and even views of the moon. With in-depth analysis of over forty manuscripts and books, 'Thinking 3D' also reveals the impact that developing techniques had on artists and draughtsmen throughout time and across space.

The National Trust looks after one of the largest and most significant holdings of fine-art and heritage objects in the world. As well as internationally famous works of art, the collections also contain many remarkable but far less familiar objects with fascinating stories to tell. This celebration of curiosities and inventions features forgotten gadgets, unusual works of art, humorous gifts and peculiar personal treasures. From dodos and dioramas to witch bottles and wooden pets, every object provides unexpected insights into the lives of those who made, owned or used it. Selected by National Trust curators, the featured objects are accompanied by easy-to-read captions. The book concludes with a list of National Trust places where these intriguing collections can be found.

The Cape Cod Museum of Art's 2,000-piece collection of the works of more than 500 artists tells a fascinating story. This book highlights 122 artists and their works, which are included in this fine collection that has been built over three decades. Artists have had a rich tradition on Cape Cod, including the long-standing art colony in Provincetown that has drawn thousands of artists to this grand land. On the occasion of its 35th anniversary, the museum celebrates these artists who created pristine realism, impressionistic landscapes, insightful portraits, luminous still lifes, modernist paintings and sculptures, abstract adventures, and dramatic photographs, drawings, and prints. Along with the images, biographies of the artists, who represent the major art movements of the last 150 years, give insight into their remarkable talents and accomplishments, and a perspective on the creative culture on Cape Cod.

This book explores what visitors saw at the Trojan exhibition and why its contents, including treasure, plain pottery and human remains captured imaginations and divided opinions. When Schliemann's Trojan collection was first exhibited in 1877, no-one had seen anything like it. Schliemann claimed these objects had been owned by participants in the Trojan War and that they were tangible evidence that Homer's epics were true. Yet, these objects did not reflect the heroic past imagined by Victorians, and a fierce controversy broke out about the collection's value and significance. Schliemann invited Londoners to see the very unclassical objects on display as the roots of classical culture. Artists, poets, historians, race theorists, bankers and humourists took up this challenge, but their conclusions were not always to Schliemann's liking. Troy's appeal lay in its materiality: visitors could apply analytical techniques (from aesthetic appreciation to skull-measuring) to the collection and draw their own conclusions. This book argues for a deep examination of museum exhibitions as a constructed spatial experience, which can transform how the past is seen. This new angle on a famous archaeological discovery shows the museum as a site of controversy, where hard evidence and wild imagination came together to form a lasting image of Troy.

While the female nude has long played a conspicuous role in western iconography, the male nude has not always enjoyed such attention, or acceptance. This ode to the male physique celebrates the evolving, at one time illicit, art form from anonymous 19th century erotica through to contemporary work from David Hockney and Duane Michaels. Through the classic, the playful, and the provocative, it explores the compositions, postures, and role-playing of this often under-explored genre. Esteemed masters such as Herbert List, George Platt Lynes or Robert Mapplethorpe are all there, alongside Baron Wilhelm von Gloeden, famed for his homoerotic images of nude youths in classical postures in Sicily. Further highlights include illustrations from Physique Pictorial, the leading organ of the mid-50s gay scene and a pioneer in gay publishing. About the series Bibliotheca Universalis - Compact cultural companions celebrating the eclectic TASCHEN universe!

Rather than one overarching theme, the 56th International Art Exhibition of the Biennale is informed by a layer of intersecting filters. These filters are a constellation of parameters that circumscribe multiple ideas which will be touched upon to imagine and realize a diversity of practices. All the World's Futures employs as a filter the historical trajectory that the Biennale itself, over the course of its one hundred and twenty years existence has run over. A filter through which to reflect on both the current 'state of things' and the 'appearance of things.' At its core is the notion of the exhibition as a stage, where historical and counter-historical projects are explored. Within this framework the main aspects of the 56th Biennale Exhibition solicit and privilege new proposals and works conceived specifically by invited artists, filmmakers, choreographers, performers, composers, and writers.

Extensively illustrated, this is the first accessible publication on the history of tapestry in over two decades. Woven with dazzling images from history, mythology and the natural world, and breath-taking in their craftsmanship, tapestries were among the most valuable and high-status works of art available in Europe from the medieval period to the end of the eighteenth century. Over 600 historic examples hang in National Trust properties in England and Wales - the largest collection in the UK. This beautifully illustrated study by tapestry expert Helen Wyld, in association with the National Trust, offers new insights into these works, from the complex themes embedded in their imagery, to long-forgotten practices of sacred significance and ritual use. The range of historical, mythological and pastoral themes that recur across the centuries is explored, while the importance of the 'revival' of tapestry from the late nineteenth century is considered in detail for the first time. Although focussed on the National Trust's collection, this book offers a fresh perspective on the history of tapestry across Europe. Both the tapestry specialist and the keen art-history enthusiast can find a wealth of information here about woven wall hangings and furnishings, including methods of production, purchase and distribution, evolving techniques and technologies, the changing trends of subject matter across time, and how tapestries have been collected, used and displayed in British country houses across the centuries.