While online exhibitions vary in complexity, basic tenets apply to the design of fluid, descriptive, and easily navigable displays. Build It Once: A Basic Primer for the Creation of Online Exhibitions explains these principles, as well as the basic structure for a flexible, easy-to-use exhibition format. Procedures describing how to design a simple format; how to create image and text files to populate the presentation; and how to develop handcrafted web pages used to display each item with its descriptive text or metadata are all included in this text. An overview of available technologies that can simplify and shorten the task is also provided. Build It Once will help readers create a reliable and easily modified exhibition format that follows the best basic standards and practices. Designed for the staff member faced with the challenge of creating high-quality online exhibitions with limited exhibit experience, technical support, and resources, this book of practices will enable even the most neophyte user to create web presentations that are straightforward, well designed, and potentially award winning.

A critical reconsideration of the history of photography that explores how commerce and conflict fueled its practice in nineteenth-century China Photography's development as a new form of art and technology coincided with profound changes in the way China engaged with the world in the nineteenth century. The medium evolved in response to war, trade, travel, and a desire for knowledge about an unfamiliar place. Power and Perspective provides a rich account of the exchanges among photographers, artists, patrons, and subjects in the treaty port cities that connected China and the West. Drawing primarily from the Peabody Essex Museum's historic and largely unpublished collection of photographs, this generously illustrated volume examines the confrontations and collaborations that shaped the adoption and practice of photography in China. Offering an original reassessment of the colonial legacy of the medium, Power and Perspective addresses photography's representations of racial hierarchy and its entanglement with histories of European imperialism in nineteenth-century China. Distributed for the Peabody Essex Museum Exhibition Schedule: Peabody Essex Museum, Salem, MA (September 24, 2022-April 2, 2023)

Enduring Splendor focuses on the rich and diverse silver jewelry traditions of India's Thar Desert region, stretching across the western states of Rajasthan and Gujarat. These traditions are considered against the background of the five-thousand-year history of jewelry making across the vast Indian Subcontinent. Drawing on recent field research carried out in the city of Jaisalmer, a thriving center of contemporary jewelry production, Enduring Splendor explores for the first time the life and work of four sonis (silversmiths or goldsmiths). To contextualize this recent production, numerous illustrations of very fine examples of ninteenth- and twentieth-century jewelry types that are still worn are included. These objects have been borrowed from the Ronald and Maxine Linde Collection of Jewelry and Ritual Arts of India, part of a promised gift to UCLA, where it will find its future home with the Fowler Museum. The Linde Collection is one of the finest and most comprehensive collections of Indian jewelry in the world. This volume highlights elaborate rural styles rendered in silver as well as selected ornate examples, largely associated with the elite, made with gold and gemstones.

An extraordinarily visceral collection of posters that represent the progressive protest movements of the twentieth Century. Two of the most recognizable images of twentieth-century art are Pablo Picasso's "Guernica" and the rather modest mass-produced poster by an unassuming illustrator, Lorraine Schneider "War is Not Healthy for Children and Other Living Things." From Picasso's masterpiece to a humble piece of poster art, artists have used their talents to express dissent and to protest against injustice and immorality. As the face of many political movements, posters are essential for fueling recruitment, spreading propaganda, and sustaining morale. Disseminated by governments, political parties, labor unions and other organizations, political posters transcend time and span the entire spectrum of political affiliations and philosophies. Drawing on the celebrated collection in the Tamiment Library's Poster and Broadside Collection at New York University, Ralph Young has compiled an extraordinarily visceral collection of posters that represent the progressive protest movements of the twentieth Century: labor, civil rights, the Vietnam War, LGBT rights, feminism and other minority rights. Make Art Not War can be enjoyed on aesthetic grounds alone, and also offers fascinating and revealing insights into twentieth century cultural, social and political history.

From camisoles to corsets, basques to boudoir caps and girdles to garters, Underwear: Fashion in Detail gets up close to some of the most intimate items in the V&A. The book traces the evolution of underwear, from rare examples dating from the sixteenth century and the exaggerated shapes of eighteenth-century courtly undergarments, to Dior's curvaceous 'New Look' girdles to contemporary lingerie by Agent Provocateur and Rigby and Peller. Meticulous colour photography shows these fascinating garments in close detail, while intricate line drawings reveal their construction. The book also highlights the work of designers such as Vionnet and Westwood, who have taken influence from underwear for their own outerwear creations.

Looking past the apparent lack of a sustainable Irish display culture, this book demonstrates that there is a very full story to tell of the way Ireland displayed its art from the late eighteenth to the early twentieth century. Ireland on Show analyzes the impact of the display of art as a significant political and cultural feature in the make-up of nineteenth-century Ireland - and in how Ireland was viewed beyond its own shores, in particular in Great Britain and the United States. Fintan Cullen directs much-needed critical attention and analysis to a subject that has been largely overlooked from an Irish perspective. This study moves beyond museums, to address the range of art institutions in Irish cities that displayed art, from the Royal Hibernian Academy, founded in the 1820s, to Hugh Lane's Municipal Art Gallery, opened in Dublin in 1908. Throughout, the book explores the battle between the display of a unionist ethos and a nationalist point of view, a constant that resurfaces over the period. By highlighting the tension between unionist and nationalist viewpoints, Cullen uses the display of art to investigate the complexities of Irish cultural life before the founding of the Free State.

This publication accompanies the Figuration Never Died: New York Painterly Painting, 1950-1970 exhibition at the Brattleboro Museum & Art Center. By about 1950, forward-looking New York painting was seen as synonymous with abstraction- especially charged, gestural Abstract Expressionism. But there was also a strong group of dissenters; artists, all born in the 1920s and many of them students of Hans Hofmann, who never lost their enthusiasm for the seductive qualities of thick, malleable oil paint. They remained, for the most part, 'painterly' painters. These rebellious artists include Lois Dodd, Jane Freilicher, Paul Georges, Grace Hartigan, Wolf Kahn, Alex Katz, Albert Kresch, Robert de Niro Sr., Paul Resika, and Anne Tabachnick. The compelling figurative work they made between about 1950 and 1970, in contrast to the prevailing Abstract Expressionism of the time, constitutes a significant chapter in the history of recent American Modernism.

Reconstructing Empress Eugenie's position as a private collector and a public patron of a broad range of media, this study is the first to examine Eugenie (1826-1920), whose patronage of the arts has been overlooked even by her many biographers. The empress's patronage and collecting is considered within the context of her political roles in the development of France's institutions and international relations. Empress Eugenie and the Arts: Politics and Visual Culture in the Nineteenth Century also examines representations of the empress, and the artistic transformation of a Hispanic woman into a leading figure in French politics. Based on extensive research at architectural sites and in archives, museums, and libraries throughout Europe, and in Britain and the United States, this book offers in-depth analysis of many works that have never before received scholarly attention - including reconstruction and analysis of Eugenie's apartment at the Tuileries. From her self-definition as empress through her collections, to her later days in exile in England, art was integral to Eugenie's social and political position.

This book explores the work of those artists who attempted to keep alive the expanded possibilities opened up by Cubism in Paris between 1911 and 1914. This little community of artists refused to accept that recording the war or producing propaganda was their duty. Instead, they kept faith in their independence as individuals as this war of machines threatened to rob every front-line soldier of his humanity and to draw the globe into unprecedented conflict. The vast majority of fit young Frenchmen were mobilized, so those artists left behind in Paris were either foreign or too old or unfit for combat. Pablo Picasso, then known as the inventor of Cubism, remained a prominent figure, alongside his fellow Spaniards Juan Gris and Maria Blanchard, the Mexican Diego Rivera, the Italian Gino Severini, the Lithuanian sculptor Jacques Lipchitz and the French painters Georges Braque, Henri Laurens, Fernand Leger and Henri Matisse. One focus of this book is the sheer diversity of the work produced by these artists; another is the move made by most of them toward a more structured, architectural Cubism, especially from 1917, which could be taken as reparation against the destructive forces that seemed to have taken over the whole world.

Centered on the early Cambodian masterpiece Krishna Lifting Mount Govardhan in the Cleveland Museum of Art, seven essays present new research and discoveries regarding its history, material, and context. Introducing the Cleveland Krishna as one of eight monumental sculptures of Hindu deities from the sacred mountain of Phnom Da, the museum's curator presents evidence for its establishment in a cave sanctuary and recounts its fascinating journey from there to Cleveland in multiple pieces--including a decades-long detour of being buried in a garden in Belgium. Conservators and scientists elucidate the long-fraught process of identifying the sculptural fragments that belong to the Cleveland Krishna and explain the new reconstructions unveiled in the 2021 exhibition Revealing Krishna: Journey to Cambodia's Sacred Mountain.An international team of specialists in the history of art, archaeology, and anthropology place the Cleveland Krishna amid the material traces of a sophisticated population based in the Mekong River delta at the ancient metropolis known as Angkor Borei. They reveal the long-lasting influence and prestige of the site, well into the Angkorian period, more than six hundred years after the creation of the Cleveland Krishna and the gods of Phnom Da. This is the fifth in the Cleveland Masterworks Series.

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)

From the very beginning of Norman Rockwell's career, dogs were integral to his art. Often they convey the emotion of a scene, as when a family pet bounds forward to greet a soldier returning from war, or sadly nuzzles a young man departing for college. Rockwell had a special affinity with his canine models, who were sometimes his own dogs: Raleigh the German shepherd, Butch the springer spaniel, and Pitter the beagle mix. Faithful Friends reproduces 50 of Rockwell's finest paintings with canine characters, along with his drawings and reference photos of dogs, and rarely seen Rockwell family photos. A lively text takes the reader inside Rockwell's home and studio, illuminating his life with dogs. This attractive little volume will appeal to art lovers and dog lovers alike.

"Breath of Heaven, Breath of Earth: Ancient Near Eastern Art from American Collections" encompasses the geographic regions of Mesopotamia, Syria and the Levant, and Anatolia and Iran, and explores several broad themes found in the art of the ancient Near East: gods and goddesses, men and women, and both real and supernatural animals. These art objects reveal a wealth of information about the people and cultures that produced them: their mythologies, religious beliefs, concepts of kingship, social structures, and daily lives.

Trudy Kawami is director of research at the Arthur M. Sackler Foundation in New York. John Olbrantz is the Maribeth Collins Director of the Hallie Ford Museum of Art at Willamette University in Salem, Oregon.

A unique portrait of nineteenth-century Italy as seen through the eyes of the first generation of British photographers This book examines the ways in which the new medium of photography influenced the British experience, appreciation, and perception of Italy in the nineteenth century. Setting photography within a long history of image making-beginning with the eighteenth-century Grand Tour and transformed by the inventions of William Henry Fox Talbot and Louis Daguerre-this beautifully illustrated book features many previously unpublished images alongside the work of well-known photographers. The sixteen essays in this volume explore photography as a vehicle for visual translation and cultural exchange. Distributed for the Yale Center for British Art

An introduction to the design, production and use of luxury embroideries in medieval England (c. 1200-1530) In medieval Europe, embroidered textiles were indispensable symbols of wealth and power. Owing to their quality, complexity and magnificence, English embroideries enjoyed international demand and can be traced in Continental sources as opus anglicanum (English work). Essays by leading experts explore the embroideries' artistic and social context, while catalogue entries examine individual masterpieces. Medieval embroiderers lived in a tightly knit community in London, and many were women who can be identified by name. Comparisons between their work and contemporary painting challenge modern assumptions about the hierarchy of artistic media. Contributors consider an outstanding range of examples, highlighting their craftsmanship and exploring the world in which they were created. Published in association with the Victoria and Albert Museum

This beautifully illustrated book explores the artistic roots of Flemish identity during the last decades of the 19th century and the first decades of the 20th century. Through art, essays, poems, and reflections by artists, academics and collectors, it revives the cultural context of the Flemish Belle Eqoque. Featured here are works by Emile Claus, Valerius De Saedeleer, George Minne and Gustave Van de Woestyne, James Ensor, Rik Wouters and Leon Spilliaert, Constant Permeke, Gust De Smedt, Frits Van den Berghe and Edgard Tytgat.

This lavishly illustrated volume, demonstrating the scope and depth of the vast and remarkable global collections of the Fowler Museum at ucla, has been produced as part of the ongoing celebration of the institution's fiftieth-anniversary year. It recalls many of the highlights of the Museum's formation, focusing not only on collections development but also on a long history of programmatic innovation. The book begins with an essay by the Museum's director, Marla C. Berns, which sketches the Fowler's history, and this is followed by a section reproducing in color and large format 250 stunning works from the collection. Berns's lengthy history of involvement with the Fowler - which began when she worked for the Museum as a graduate intern while pursuing her doctorate at UCLA - and the innovative strategies she has introduced, have uniquely situated her to author this book.

The passionately narrative and visual work of Alice Creischer (Berlin, 1960) brings to life the forms, moments, and situations of capitalisms history, tales of exploitation and the distortion of the basic principles of western democracy. Researching the phenomena by which financial corporations operate internationally, Creischer uses installations, drawings, collages, articles and texts to explore the relationships between official government policy, financial business and culture, and the origins of alienation and manipulation. A thought-provoking analysis of her ethical and critical perpectives on contemporary liberal governments and financial, political, and social crisis.

Jacopo Tintoretto (1518/19-1594) was among the most distinctive artists of the Italian Renaissance. Yet, although his bold paintings are immediately recognizable, his drawings remain unfamiliar even to many scholars. Drawing in Tintoretto's Venice offers a complete overview of Tintoretto as a draftsman. It begins with a look at drawings by Tintoretto's precedents and contemporaries, a discussion intended to illuminate Tintoretto's sources as well as his originality, and also to explore the historiographical and critical questions that have framed all previous discussion of Tintoretto's graphic work. Subsequent chapters explore Tintoretto's evolution as a draftsman and the role that drawings played in his artistic practice-both preparatory drawings for his paintings and the many studies after sculptures by Michelangelo and others-thus examining the use of drawings within the studio as well as teaching practices in the workshop. Later chapters focus on the changes to Tintoretto's style as he undertook ever larger commissions and accordingly began to manage a growing number of assistants, with special attention paid to Domenico Tintoretto, Palma Giovane, and other artists whose drawing style was infl uenced by their time working with the master. The book is published in conjunction with the exhibition Drawing in Tintoretto's Venice, opening at the Morgan Library& Museum, New York, in 2018 and travelling to the National Gallery of Art, Washington, in early 2019. All of the drawings in the exhibition are discussed and illustrated, and a checklist of the exhibition is also included in the volume, but the book is a far more widely ranging account of Tintoretto's drawings and a comprehensive account of his work as a draftsman.

Harry Potter: A History Of Magic is the official book of the exhibition, a once-in-a-lifetime collaboration between Bloomsbury, J.K. Rowling and the brilliant curators of the British Library. It promises to take readers on a fascinating journey through the subjects studied at Hogwarts School of Witchcraft and Wizardry - from Alchemy and Potions classes through to Herbology and Care of Magical Creatures.

Each chapter showcases a treasure trove of artefacts from the British Library and other collections around the world, beside exclusive manuscripts, sketches and illustrations from the Harry Potter archive. There's also a specially commissioned essay for each subject area by an expert, writer or cultural commentator, inspired by the contents of the exhibition - absorbing, insightful and unexpected contributions from Steve Backshall, the Reverend Richard Coles, Owen Davies, Julia Eccleshare, Roger Highfield, Steve Kloves, Lucy Mangan, Anna Pavord and Tim Peake, who offer a personal perspective on their magical theme. Readers will be able to pore over ancient spell books, amazing illuminated scrolls that reveal the secret of the Elixir of Life, vials of dragon's blood, mandrake roots, painted centaurs and a genuine witch's broomstick, in a book that shows J.K. Rowling's magical inventions alongside their cultural and historical forebears.

This is the ultimate gift for Harry Potter fans, curious minds, big imaginations, bibliophiles and readers around the world who missed out on the chance to see the exhibition in person.