This engaging exploration of the Maya pantheon introduces readers to the complex stories of Mesoamerican divinity through the stunning carvings, ceramics, and metalwork of the Classic period Focusing on the period between A.D. 250 and 900, Lives of the Gods reveals that ancient Maya artists evoked a pantheon as rich and complex as the more familiar Greco-Roman, Hindu-Buddhist, and Egyptian deities. The authors show how this powerful cosmology informed some of the greatest creative achievements of Maya civilization, represented here from the monumental to the miniature through more than 140 works in jade, stone, and clay. Thematic chapters supported by new scholarship on recent archaeological discoveries detail the different types of gods and their domains, the role of the divine in the lives of the ancient Maya, and the continuation of these traditions from the colonial period through the present day. Published by The Metropolitan Museum of Art/Distributed by Yale University Press Exhibition Schedule: The Metropolitan Museum of Art, New York (November 21, 2022-April 2, 2023) Kimbell Art Museum, Fort Worth, TX (May 7-September 3, 2023)

A provocative study of a freedman painter that recognizes the labor of enslaved artists and artisans in seventeenth-century Spain Diego Velazquez's portrait of Juan de Pareja (ca. 1608-1670) has long been a landmark of European art, but this provocative study focuses on its subject: an enslaved man who went on to build his own successful career as an artist. This catalogue-the first scholarly monograph on Pareja- discusses the painter's ties to the Madrid School of the 1660s and revises our understanding of artistic production during Spain's Golden Age, with a focus on enslaved artists and artisans. The authors illuminate the highly skilled labor within Seville's multiracial society; the role of Black saints and confraternities in the promotion of Catholicism among enslaved populations; and early twentieth-century scholar Arturo Schomburg's project to recover Pareja's legacy. The book also includes the first illustrated and annotated list of known works attributed to Pareja. Published by The Metropolitan Museum of Art/Distributed by Yale University Press Exhibition Schedule: The Metropolitan Museum of Art, New York (April 3-July 16, 2023)

The COVID-19 pandemic has made the fragility of the human body painfully perceptible. Through essays and contributions of international artists and activists, this anthology poses the question of how and by whom a body is defined as healthy or sick. At the intersection of ecology, economics and technology, Kingdom of the Ill investigates a shift in the relationship between health and illness, contamination and purity, care and neglect. How are climate change and pollution affecting our well-being? Given the collective state of exhaustion, looming economic hardships, public healthcare cuts, and the dissolution of the boundaries between online and offline, how can one actually stay healthy and well? Following Techno Globalization Pandemic, Kingdom of the Ill - curated by Sara Cluggish and Pavel S. Pys - is the second chapter in the long-term research program TECHNO HUMANITIES launched in 2021 by Museion Bozen's Director Bart van der Heide.

The first-ever monograph on Reynaud-Dewar, one of today’s most celebrated multimedia artists

French artist Lili Reynaud-Dewar creates environments and situations in which she uses her own body to examine the dual experience of vulnerability and empowerment that results from acts of exposing oneself to the world. Evolving through a range of media such as performance, video, installation, sound, and literature, her work considers the fluid border between public and private space, challenging conventions related to the body, sexuality, power relations, and institutional spaces. This is the first book to document her remarkable career.

From the reviews of the hardcover edition:

... This conference ... to celebrate the centennial of the birth of Escher] resulted in an immensely interesting collection of articles ... Although Escher himself is no longer among us, M.C.Escher's Legacy, like a garden of continually blooming flowers, allows us to appreciate his heritage anew.

Notices of the AMS April 2003

... It is a handsome volume, and contains articles from 41 people, which cover a wide range of artistic and analytical endeavour. ... A quick dip into each section produces small gems. ... there is enough here to provide rich pickings for any interested party, no matter what their particular discipline is. Embedded in the various articles are even snippets which illuminate Escher's intentions, and his relationships with his mathematician friends ... Even though short, these are rewarding to read.

... the CD-ROM ... is an excellent addition to the book, and contains much more material, including "video" excerpts from some of the lectures."

Australian Math. Soc. GAZETTE May 2003

This book is an edited record of the papers given at the two-day symposium 'Italian Maiolica and Europe' held in Oxford on 22 and 23 September 2017. It is, in effect, a celebration of his long service in the Ashmolean Museum as the Keeper of Western Art. Museum collections develop their great strengths in one of two ways: through gifts of private collections and through the knowledge and enthusiasm of curators. The Ashmolean's renowned and important collection of Italian Maiolica owes its foundation to the former and the bequest of C.D.E. Fortnum. But it has grown and developed in remarkable ways over the last three decades thanks to the energy and expertise of Professor Timothy Wilson. During his 27 years as Keeper of Western Art, Tim was responsible for a truly extraordinary range and number of important acquisitions across the fine and decorative arts. As one of the world's leading scholars of Italian Maiolica, it was only natural that he would continue to build on Fortnum's legacy.

This book offers the first-ever survey of Swiss artist Nicolas Party's entire body of work. Born in 1980 in Lausanne, Party now lives and works in New York and has established himself as one of the most important figures of international contemporary art. Nicolas Party-Rovine (Italian for ruins) features pastels and sculptures that Party has created since 2013. The book focuses on the core genres of painting: still life, landscape, and portrait. Party's works stand out in these genres due to his use of wild, anti-naturalistic colours, as well as through his extremely precise rendering of the subjects. The artist explains his fascination for each of these genres in accompanying texts. The book also shows a large-format wall painting and a sculpture created especially for Party's major solo exhibition at MASI Lugano in the summer 2021. Contributions by the art critic and curator Michele Robecchi and by MASI Lugano's director Tobia Bezzola supplement this beautiful volume. Text in English, German and Italian.

Auguste Rodin (1840-1917) was a radical sculptor whose unorthodox approach to sculpture-making provided a definitive break in the history of Western sculpture. Although much of his commercial success was based on the bronze and marble versions of his work, Rodin's greatest talent was as a modeller who captured movement, emotion, light and volume in clay and plaster, to challenge traditional conceptions of beauty and perfection. In line with new thinking on Rodin, this book explores the artist's use of plaster, a material which demonstrates his interest in creating sculptures that are never completed, always becoming. United by their materiality, fragile and experimental pieces are explored alongside new readings of some of Rodin's iconic works, and a selection of his watercolour drawings. Including an exclusive contribution from sculptor Phyllida Barlow, The Making of Rodin sheds light on the artist's use of materials, his unique way of working, and his imaginative use of photography, revealing how Rodin reinvented sculpture for the modern age - and why his work continues to enthral and provoke to this day.

The Grosvenor School of Modern Art was founded by the influential teacher, painter and wood-engraver, Iain McNab, in 1925. Situated in London's Pimlico district the school played a key role in the story of modern British printmaking between the wars. The Grosvenor School artists received critical acclaim in their time that continued until the late 1930s under the influence of Claude Flight who pioneered a revolutionary method of making the simple linocut to dynamic and colourful effect. Cyril Power, a lecturer in architecture at the school, and Sybil Andrews, the School Secretary, were two of Flight's star students. Whilst incorporating the avant-garde values of Cubism, Futurism and Vorticism, the Grosvenor School printmakers brought their own unique interpretation of the contemporary world to the medium of linocut in images that are strikingly familiar to this day and are included in the print collections of the world's major museums, including the British Museum, the MoMA New York and the Australian National Gallery.

This new book which accompanies an exhibition at Dulwich Picture Gallery illustrates over 120 linocuts, drawings and posters by Grosvenor School artists and its thematic layout focuses on the key components which made up their dynamic and rhythmic visual imagery. For the first time, three Australian printmakers, Dorrit Black, Ethel Spowers and Eveline Syme - who played a major part in the Grosvenor School story - are included in a major museum exhibition outside of Australia.

Lawren S. Harris is best known for his iconic landscape paintings that declare a sense of cool Canadian resilience. Yet, in the 1920s, an audacious and more colourful interior world began to emerge in his work, and by 1934, the patriotic landscape painter had taken a seemingly unexpected turn toward a transnational career in abstract painting. The social, intellectual, and aesthetic milieu of American transcendentalism shaped a movement of abstract art across North America, seen in the paintings of Georgia O'Keeffe, Marsden Hartley, Katherine Dreier, Raymond Jonson, and Lawren Harris. Harris, in particular, made an impact on both sides of the border. Inspired by the ideas of Kandinsky and informed by the writings of Emerson and Whitman, Harris and his contemporaries turned to abstraction to express higher states of consciousness, creating work that was the very embodiment of the modern spirit. As Harris's career progressed, as he ascended from mountaintops to inner states of mind, he sought greater and more ethereal spiritual heights. This magnificent volume features reproductions of more than 75 paintings by Harris and his contemporaries. Two major essays by Roald Nasgaard and Gwendolyn Owens investigate Lawren Harris's exploration of modernity and the evolution of his work towards a form of abstraction that enthusiastically embraced the energies of the ambient visual culture. Higher States: Lawren Harris and His American Contemporaries accompanied an exhibition organized by the McMichael Canadian Art Collection.

A magnificently illustrated showcase of works by artists in Paris at the dawn of the 20th century In Paris at the turn of the 20th century, an artistic revolution was underway. The Salon des Independants was organized in 1884 by a group of artists and thinkers that included Albert Dubois-Pillet, Odilon Redon, Georges Seurat, and Paul Signac, who was the organization's president from 1908 to his death in 1935. They chose as their slogan "neither jury nor reward" (ni jury ni recompenses), and for the following three decades their annual exhibitions set new trends that profoundly changed the course of Western art. This beautifully illustrated volume features paintings and graphic works by an impressive range of artists who exhibited at these avant-garde gatherings where Impressionists (Monet and Morisot), Fauves (Dury, Friesz, and Marquet), Symbolists (Gauguin, Mucha, and Redon), Nabis (Bonnard, Denis, and Lacombe), and Neo-Impressionists (Cross, Pissarro, and Seurat) all came together. Distributed for Editions Hazan, Paris Exhibition Schedule: Montreal Museum of Fine Arts (July 4-November 15, 2020)

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.

Expertly crafted from thousands of tiny and intricately arranged pieces, micromosaics appear at first glance to be miniature paintings. Closer inspection reveals the extraordinary skill of the virtuoso makers, who were able to create exquisite images brimming with drama and atmosphere. Focusing on 30 highlights from the V&A's superlative Rosalinde and Arthur Gilbert Collection, which includes some of the finest examples of micromosaics made, this new book explores the technical aspects of micromosaic construction, its roots in antiquity, their incredible popularity in the last quarter of the eighteenth century, and their evolution through the nineteenth century until the technique virtually vanished in the early 1900s

The result of athree-year research project, this highly illustrated scholarlycatalogue provides full details of place and date of production,materials and technique, provenance and exhibition history.The work will become a benchmark for future research andinterpretation of tapestries of the period.

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

A revelatory look at an underexplored chapter of American art, which took place not on American soil but in France "Reveals the fertile creative ground Americans discovered in Paris and beyond."-Judith H. Dobrzynski, Wall Street Journal, exhibition review In the late nineteenth and early twentieth centuries, American artists flocked to France in search of instruction, critical acclaim, and patronage. Some, including James McNeill Whistler, John Singer Sargent, and Mary Cassatt, became highly regarded in the French press, advancing their careers on both sides of the Atlantic. Others, notably William Merritt Chase, John Twachtman, Childe Hassam, and Thomas Wilmer Dewing-part of the association known as The Ten-found success working in the style of the French Impressionists, while Henry Ossawa Tanner, Cecilia Beaux, and Elizabeth Jane Gardner focused on genre and history subjects. This richly illustrated volume offers a sophisticated examination of cultural and aesthetic exchange as it highlights many figures, including artists of color and women, who were left out of previous histories. Celebrated scholars from both American and French institutions detail the complex history and diverse styles of these expatriate artists-styles ranging from conservative academic modes to Tonalism-and provide original perspectives on this fertile period of creativity, expanding our understanding of what constitutes American art. Published in association with the Denver Art Museum Exhibition Schedule: Denver Art Museum (November 14, 2021-March 13, 2022) Virginia Museum of Fine Arts (April 16-July 31, 2022)

Published on the occasion of the eponymous exhibition, Let me consider it from here features color reproductions of artworks by Saul Fletcher, Brook Hsu, and Tetsumi Kudo and transcriptions of the audio works of Constance DeJong, alongside newly commissioned poems by Geoffrey G. O'Brien, Simone White, and Lynn Xu, and an epilogue by Solveig Ovstebo. These artists frequently draw from their own histories, humors, and instincts as they grapple with or reimagine what's happening in the world around them. Across a range of mediums, their works open up spaces that oscillate between strange and familiar, registering deeply personal experiences as well as more ambient cultural and political pressures. Their practices are all similarly anchored in solitude and stretch outward to meet the world, guiding us to the liminal realms between the public and the intimate, the concrete and the fantastical.

- The first volume to explore the staggering collection of Jane and Kito de Boer- Functions as an introduction to Indian modernism, with strong representations of several individual artists as well as major movementsModern Indian Painting presents a survey of Indian painting from the late 19th century to the present day, drawn from the private collection of Jane and Kito de Boer remarkable for its broad historical scope and wide range of artists. The book clearly delineates major developments over a long period of time, while contextualizing them with previously unpublished examples by major artists. The first part of the book features the de Boers talking about their passion for India and Indian art. The second part presents a history of modern Indian painting, with essays on the Bengal School, the so-called 'Dutch Bengal' artists, the Calcutta naturalists, the portrait painters of the Bombay School in the early 20th century, the Progressive Artists Group and the post-Independence artists of Bengal. The de Boer collection also contains strong representations of a few individual artists, such as Chittaprosad, Ganesh Pyne, Ramachandran and Broota, whose works are explored through essays and interviews. The fact that many of these chapters draw almost exclusively on the de Boer collection is a testament to its incredible size and breadth. In this volume, we hope to show how the collection takes a dispassionate view of the global status of Indian art, while at the same time revealing a commitment and long-term engagement with the country and its creativity. With contributions from Partha Mitter, Giles Tillotson, Yashodhara Dalmia, Sona Datta, Sanjay Kumar Mallik and Rob Dean.

Though largely forgotten today and always discreetly behind the scenes in his own day, Félix Fénéon had an extraordinary impact on the development of modernism in the late 19th and early 20th centuries and played a key role in the careers of leading artists from Georges Seurat and Paul Signac to Pierre Bonnard and Henri Matisse. The centrepiece of the exhibition will be Signac’s portrait of Fénéon, Opus 217. Against the Enamel of a Background Rhythmic with Beats and Angels, Tones, and Tints, Portrait of M. Félix Fénéon in 1890 – an important recent acquisition to MoMA’s collection.

The exhibition and catalogue are a collaboration with the Musées d’Orsay/Orangerie (opening October, 2019) and the Musée du quai Branly-Jacques Chirac (opening May, 2019). The MoMA presentation will combine, distil and augment elements from the two complimentary Paris venues. The Quai Branly focuses primarily on Fénéon’s collection of sculpture from Africa and Oceania, while the Orangerie focuses primarily on European paintings and works on paper.