A detailed and inventive study of the thinking at work in modern painting, drawing on a formidable body of scholarly evidence to challenge modernist and phenomenological readings of art history, The Brain-Eye presents a series of interlinked 'case studies' in which philosophical thought encounters the hallucinatory sensations unleashed by 'painter-researchers.' Rather than outlining a new 'philosophy of art,' The Brain-Eye details the singular problems pursued by each of its protagonists. Striking readings of the oeuvres of Delacroix, Seurat, Manet, Gauguin, and Cezanne recount the plural histories of artists who worked to free the differential forces of colour, discovered by Goethe in his Colour Theory, in the name of a "true hallucination" and of a logic proper to the Visual. A rigorous renewal of the philosophical thinking of visual art, The Brain-Eye explores the complex relations between concept and sensation, theory and practice, the discursive and the visual, and draws out the political and philosophical stakes of the aesthetic revolution in modern painting.

Vincent van Gogh's short, passionate life was driven by an almost unimaginable creative energy that eventually overwhelmed him. The outlines of his story - the early strivings in Holland and Paris, the revelatory impact of the move to Provence, the attacks of madness that led ineluctably to his suicide - are almost as familiar as the paintings. Yet it is more than possible that neither the paintings nor Van Gogh's story would have survived at all if it had not been for his remarkable sister-in-law, Jo van Gogh-Bonger. After Vincent's death and that of her husband, his brother Theo, Jo devoted her life to preserving and exhibiting the paintings, and editing the letters. It is in her short and unaccountably neglected biography that we can come closest to Vincent the man.

Employing an interdisciplinary approach, this book breaks new ground by considering how Robert Motherwell's abstract expressionist art is indebted to Alfred North Whitehead's highly original process metaphysics. Motherwell first encountered Whitehead and his work as a philosophy graduate student at Harvard University, and he continued to espouse Whitehead's processist theories as germane to his art throughout his life. This book examines how Whitehead's process philosophy-inspired by quantum theory and focusing on the ongoing ingenuity of dynamic forces of energy rather than traditional views of inert substances-set the stage for Motherwell's future art. This book will be of interest to scholars in twentieth-century modern art, philosophy of art and aesthetics, and art history.

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.

The Life and Work of Rosalba Carriera (1673-1757): The Queen of Pastel is the first extensive biographical narrative in English of Rosalba Carriera. It is also the first scholarly investigation of the external and internal factors that helped to create this female painter's unique career in eighteenth-century Europe. It documents the difficulties, complications, and consequences that arose then -- and can also arise today -- when a woman decides to become an independent artist. This book contributes a new, in-depth analysis of the interplay between society's expectations, generally accepted codices for gendered behaviour, and one single female painter's astute strategies for achieving success, as well as autonomy in her professional life as a famed artist. Some of the questions that the author raises are: How did Carriera manage to build up her career? How did she run her business and organize her own workshop? What kind of artist was Carriera? Finally, what do her self-portraits reveal in terms of self-enactment and possibly autobiographical turning points?