Church Woodwork in the British Isles, 1100-1535: An Annotated Bibliography is a thoroughly researched bibliographic guide to monographic, serial, archival, and graphical resources that deal with all aspects of late Romanesque, Gothic, and early Renaissance ecclesiastical woodwork in churches throughout the United Kingdom and the Republic of Ireland. Dealing with both the decorative and structural elements of wooden church furnishings fittings, this authoritative reference tool includes more than 900 annotated citations for works published from the mid-19th century to the present. The extensive and informative annotations provide a synopsis of each cited resource. Resources are categorized in separate chapters by their specific location in the church, their decorative features, their structural function, or other pertinent criteria. This annotated bibliography represents the most comprehensive reference tool for material that deals with church woodwork that has yet been published.

Looking and Listening: Conversations between Modern Art and Music invites the art and music lover to place these two realms of creative endeavor in an open dialog with one another. While the worlds of music and visual art often seem to take separate path, they are commonly parallel ones. In Looking and Listening, conductor and art connoisseur Brenda Leach takes unique pairings of well-known visual art works and musical compositions from the 20th century to identify the shared sources of inspiration, as well as similarities in theme, style and technique to explore the historical and cultural influences on the great artists and composers in the 20th century. For readers, Looking and Listening asks and answers: What does jazz have in common with paintings by Stuart Davis and Piet Mondrian? How did Gershwin s Rhapsody in Blue impact the work of artist Arthur Dove? How did painter Georgia O Keeffe and composer Aaron Copland capture the spirit of a youthful America entering the 20th century in their works? What did Kandinsky and Schoenberg share in their artistic visions? Leach takes readers on a whirlwind tour of the lives of these artists and others, surveying many of the key movements in the 20th century, from pop art to minimalism, cubism to atonalism, by comparing representative works from modern master of the visual arts and music. Leach s refreshing and innovation approach will interest those passionate over 20th century art and music and is ideal for any student or instructor, museum docent or music programmer seeking to draw the lines of connection between these two art forms."

In a book made especially timely by the disastrous Exxon Valdez oil spill in March 1989, Joseph Jorgensen analyzes the impact of Alaskan oil extraction on Eskimo society. The author investigated three communities representing three environments: Gambell (St. Lawrence Island, Bering Sea), Wainwright (North Slope, Chukchi Sea), and Unalakleet (Norton Sound). The Alaska Native Claims Settlement Act of 1971, which facilitated oil operations, dramatically altered the economic, social, and political organization of these villages and others like them. Although they have experienced little direct economic benefit from the oil economy, they have assumed many environmental risks posed by the industry. Jorgensen provides a detailed reminder that the Native villagers still depend on the harvest of naturally-occurring resources of the land and sea-birds, eggs, fish, plants, land mammals and sea mammals. Oil Age Eskimos should be read by all those interested in Native American societies and the policies that affect those societies. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1990.

One ill-fated evening at the Reform Club, Phileas Fogg rashly bets his companions 20,000 pounds that he can travel around the entire globe in just eighty days - and he is determined not to lose. Breaking the well-established routine of his daily life, the reserved Englishman immediately sets off for Dover, accompanied by his hot-blooded French manservant Passepartout. Travelling by train, steamship, sailing boat, sledge and even elephant, they must overcome storms, kidnappings, natural disasters, Sioux attacks and the dogged Inspector Fix of Scotland Yard - who believes that Fogg has robbed the Bank of England - to win the extraordinary wager. Around the World in Eighty Days gripped audiences on its publication and remains hugely popular, combining exploration, adventure and a thrilling race against time.

There's so much to love about New York, and so much to see. The city is full of art, and architecture, and history -- and not just in museums. Hidden in plain sight, in office building lobbies, on street corners, and tucked into Soho lofts, there's a treasure trove of art waiting to be discovered, and you don't need an art history degree to fall in love with it. Art Hiding in New York is a beautiful, giftable book that explores all of these locations, traversing Manhattan to bring 100 treasures to art lovers and intrepid New York adventurers. Curator and urban explorer Lori Zimmer brings readers along to sites covering the biggest names of the 20th century -- like Jean-Michel Basquiat's studio, iconic Keith Haring murals, the controversial site of Richard Serra's Tilted Arc, Roy Lichtenstein's subway station commission, and many more. Each entry is accompanied by a beautiful watercolor depiction of the work by artist Maria Krasinski, as well as location information for those itching to see for themselves. With stunning details, perfect for displaying on any art lover's shelf, and curated itineraries for planning your next urban exploration, this inspirational book is a must-read for those who love art, New York, and, of course, both.

This volume is an in-depth and exquisitely illustrated guide to the Second Age of Middle-earth, one of the least-explored periods of Arda's history. The Illustrated World of Tolkien: The Second Age, is the follow up companion to the best-selling The Illustrated World of Tolkien, and gathers together artwork, charts, and fascinating and scholarly writing from renowned Tolkien expert David Day. Exploring the languages, poetry and elements of the heroic ages of Norse, Greek and Roman mythologies that may have influenced Tolkien's writing, it is a reference guide for any fan of Tolkien's work, Tolkien's world and the imaginative brilliance his vision inspired. The Second Age is made up of two great narrative channels: on the one hand the rise and cataclysmic downfall of the island-kingdom of Númenor and its aftermath, and on the other the forging of the Rings of Power and the rise to power of the new dark lord. Tolkien's sources for his Second Age are, of course, as rich and varied as ever and this book delves into some of these influences and shows how the power of Tolkien's imagination is manifest even in the lesser-known parts of his legendarium. This work is unofficial and is not authorised by the Tolkien Estate or HarperCollins Publishers.

Screening the Art World explores the ways in which artists and the art world more generally have been represented in cinema. Contributors address a rarely explored subject - art in cinema, rather than the art of cinema - by considering films across genres, historical periods, and national cinemas in order to reflect on cinema's fluctuating imaginary of art and the art world. The book examines the intersection of art history with history in cinema; cinema's simultaneous affirmation and denigration of the idea of art as "truth"; the dominant, often contradictory ways in which artists have been represented on screen; and cinematic representations of the art world's tenuous position between commercial good and cultural capital.

An introduction to the theatrical art of comic storytelling that originated in the Edo period, Rakugo sheds light on Japanese culture as a whole: its aesthetics, social relations, and learning styles. Enriched with personal anecdotes, Rakugo explicates the art's contemporary performance culture: the image, training and techniques of the storytellers, the venues where they perform, and the role of the audience in sustaining the art. Laurie Brau inquires into how this comic art form participates in the discourse of heritage, serving as a symbol of the Edo culture, while continuing to appeal to Japanese today. Written in an accessible manner, this book is appropriate for all levels of student or researcher.

Why do people attack monuments and other public objects charged with authority by the societies that produced them? What do open assaults on images and artworks mean? Iconoclasm, the principled destruction of images, has recurred throughout human history as theory and practice. This book contains seven historical studies of the changing causes and meanings of iconoclasm and the radical transformations in the function of images it has brought about in societies around the world, from Ancient Egypt to Islamic India and Revolutionary Mexico, as well as Medieval and Reformation Europe. Scholars of art history, history and archaeology explore shifting definitions of art and the forms of representation in delineating varied forms of 'iconoclasm'.

Conflicting Visions: War and Visual Culture in Britain and France, c. 1700-1830 offers the first systematic reappraisal of the cultural representation of war in Britain and France during the 'long' eighteenth century. This radical collection of essays explores the relation of visual imagery and aesthetics to conflict during this important period, drawing upon a wealth of materials including paintings and prints, maps and topographical drawings, commemorative sculpture and historical artefacts. The intriguing case studies reveal that military conflict was not a sphere of social activity separated from artistic culture but rather a determining factor in cultural production, and that war itself was largely comprehended, debated and experienced through those products. Key themes and preoccupations - how differing ideas of the public were predicated by the representation of war; how such notions were shaped by the imperial contexts of war; the relations between conflict, national identity and historical memory - are addressed to show that war served as a primary vehicle for the representation of numerous associated and contested issues, including patriotism and the idea of the nation, loyalty and opposition, heroism and masculinity, sympathy and sensibility.

Iago Triumphalis: The Function and Significance of Triumphal Imagery for Renaissance Rulers examines how independent rulers in fifteenth-century Italy used the motif of the Roman triumph for self-aggrandizement and personal expression. Triumphal imagery, replete with connotations of victory and splendor, was recognized during the Renaissance as a reflection of the glory of classical antiquity. Its appeal as a powerful visual bearer of meaning is evidenced by its appearance as a dominant theme in literature, architecture, and art. Rulers such as Alfonso of Aragon, Federico da Montefeltro, Sigismondo Malatesta, and Borso d'Este chose to incorporate the triumphal motif in major artistic commissions in which they were represented. They recognized that the image of the triumph could retain its classical associations while functioning as a highly personalized commentary.

Lucas Cranach the Elder (1472-1553) is the most influential painter of the German Reformation. In collaboration with Martin Luther (1483-1546), Cranach produced innovative paintings which made the complex ideas of Lutheran Christianity understandable to a wide range of viewers and inspired later generations of artists. Despite Cranach's crucial role as an interpreter of Lutheran ideas, his Reformation paintings remain unfamiliar to many American scholars. Lucas Cranach the Elder: Art and Devotion of the German Reformation presents Cranach's Reformation painting to a broader audience and explains the pictorial strategies Cranach devised to clarify and interpret Lutheran thought. For specialists in Reformation history, this study offers an interpretation of Cranach's art as an agent of religious change. For historians and students of Renaissance art, this study explores the defining work of a major sixteenth-century artist. The broad implications of the Reformation and Cranach's role in transforming religious art make this study suitable for readers with a general interest in history, religion, or art history.

Contents:
Introduction 1. Antiquity; Attitudes of the Bible; Classical Antiquity; Causes of blindness; Blindness and guilt; The blind seer; Ate 2. The Blind in the Early Christian World; The healing of the blind; Blindness and revelation; the story of Paul; A concluding observation 3. The Middle Ages; The Antichrist; Allegorical blindness; The blind beggar; The blind and his guide 4. The Renaissance and its Sequel; The blind beggar; Metaphocial blindness; The revival of the blind seer; Early secularization of the blind; The blind beggar in the seventeenth century 5. The Disenchantment of Blindness: Diderot's Lettre sur les aveugles

What is assembled here might look like a modern 'Cabinet of Curiosities', an assemblage of the exotic and curious from the four quarters of the world. There is an intention behind it, however, that goes beyond presenting a wide variety of curiosities. We are today linked up to all those four quarters, and while a huge amount of information is available to us, unlike to those who awaited the ships in the ports of Amsterdam, Genoa, Lisbon, London, Marseille, Seville or Venice, the horizon of what interests us seems to have shrunk. The art market is an interesting barometer of this shrinkage. The point is, therefore, that we can connect with the whole world on a much more profound level than can be gained from package touring, through the possession of, and study of even the most modest objects of different cultures. The purpose of collecting, as Moliere might have put it, should not be limited to becoming rich through the investment in one's purchases, but to become enriched through the possession of what one has acquired. Highlights include: the silver libation cup of Mo ngke Khan, grandson of Genghis and ruler of an empire that stretched from modern Bucharest to Peking, and Karachi to Novgorod; the apple from the Garden of Eden - a silver pomander belonging to the Stuart Kings, with bite marks, opening to reveal a silver skull; a Scythian (6-7th centuries BC) jade pendant of the endangered Saiga antelope, as nely carved as anything by Faberge; a bronze Bacchus head from a tripod table belonging to the Emperor Augustus; a limestone bear carved in 3rd millenium BC Bactria.

Kosher USA follows the fascinating journey of kosher food through the modern industrial food system. It recounts how iconic products such as Coca-Cola and Jell-O tried to become kosher; the contentious debates among rabbis over the incorporation of modern science into Jewish law; how Manischewitz wine became the first kosher product to win over non-Jewish consumers (principally African Americans); the techniques used by Orthodox rabbinical organizations to embed kosher requirements into food manufacturing; and the difficulties encountered by kosher meat and other kosher foods that fell outside the American culinary consensus. Kosher USA is filled with big personalities, rare archival finds, and surprising influences: the Atlanta rabbi Tobias Geffen, who made Coke kosher; the lay chemist and kosher-certification pioneer Abraham Goldstein; the kosher-meat magnate Harry Kassel; and the animal-rights advocate Temple Grandin, a strong supporter of shechita, or Jewish slaughtering practice. By exploring the complex encounter between ancient religious principles and modern industrial methods, Kosher USA adds a significant chapter to the story of Judaism's interaction with non-Jewish cultures and the history of modern Jewish American life as well as American foodways.

The first book in over twenty-five years devoted solely to allegory and personification in art history, this anthology complements current literary and cultural studies of allegory. The volume re-examines early modern allegorical imagery in light of crucial material, contextual and methodological questions: how are allegories conceived; for whom; and for what purposes? Contributors consider a wide range of allegorical representations in the visual arts and material culture, of both early modern Europe and the colonial "New World" 1400-1800. Essays included here examine paintings, sculpture, prints, architecture and the spaces of public ritual while discussing the process and theory of interpretation, formation of audiences, reception history, appropriation and censorship. A special focus on the medium of the body in visual allegory unites the volume's diverse materials and methods.

Why have some of the most interesting artists of our time committed themselves to some of the most devastating conflicts on Earth? Why are some of the most interesting artists of our time committed to engaging with conflict and exploitation around the world? Beautiful, Gruesome, and True tells the stories of three of them: Amar Kanwar makes riveting films about the destruction of rural India in the drive to extract natural resources. Teresa Margolles creates haunting installations from the traces of crime scenes and drug-related violence in Mexico. The anonymous collective Abounaddara has produced more than four hundred short films chronicling the uprising and civil war in Syria. Drawing on years of research and extensive reporting, Kaelen Wilson-Goldie vividly recounts how a group of "political" artists found ways to produce remarkable works of art that demand deliberate and methodical ways of thinking-works that are contemplative, thoughtful, even redemptive. "A gifted critic and a compelling journalist, Wilson-Goldie offers many important insights into the challenges these artists face in their confrontation with authority, repressive regimes, death, and violence. The story she tells could not be more timely." -Glenn D. Lowry, David Rockefeller Director, Museum of Modern Art

The notion of a person--or even an object--having a "double" has been explored in the visual arts for ages, and in myriad ways: portraying the body and its soul, a woman gazing at her reflection in a pool, or a man overwhelmed by his own shadow. In this edited collection focusing on nineteenth- and twentieth-century western art, scholars analyze doppelgangers, alter egos, mirror images, double portraits and other pairings, human and otherwise, appearing in a large variety of artistic media. Artists whose works are discussed at length include Richard Dadd, Salvador Dali, Egon Schiele, Frida Kahlo, the creators of Superman, and Nicola Costantino, among many others.

John Castagno's Artists' Signatures and Monograms have become the standard reference source for galleries, museums, libraries, and collectors around the world. Whether used to identify, authenticate, or verify signatures and works of both well-known and little-known artists, Castagno's work has no equal. In the first volume of European Artists Signatures and Monograms, 1800-1990 (Scarecrow, 1990), Castagno provided identification for more than 4,800 artists' signatures, along with biographical information and reference sources. The second volume, published by Scarecrow in 2007, identified an additional 2,100 artists and featured 3,000 signature examples. This third volume features an additional 2,800 artists and signatures. In addition to the standard signature entries, the book features sections for monograms and initials, common surname signatures, alternative surname signatures, and illegible signatures. Less than five percent of the entries in this volume are listed in the original volumes and these are included to provide additional information about the artists. The use of European Artists III: Signatures and Monograms From 1800, A Directory provides the researcher a reference tool not duplicated elsewhere one that will save many hours of research."

The first book in over twenty-five years devoted solely to allegory and personification in art history, this anthology complements current literary and cultural studies of allegory. The volume re-examines early modern allegorical imagery in light of crucial material, contextual and methodological questions: how are allegories conceived; for whom; and for what purposes? Contributors consider a wide range of allegorical representations in the visual arts and material culture, of both early modern Europe and the colonial "New World" 1400-1800. Essays included here examine paintings, sculpture, prints, architecture and the spaces of public ritual while discussing the process and theory of interpretation, formation of audiences, reception history, appropriation and censorship. A special focus on the medium of the body in visual allegory unites the volume's diverse materials and methods.

In these studies Gary Vikan has opened new perspectives on the daily life and material culture of Late Antiquity - more specifically, on icons and relics, and on objects revealing of the world of pilgrimage, the early cult of saints, and marriage. He contextualizes these familiar categories of object in the patterns of belief and ritual extracted from contemporary texts and the objects themselves, in order to understand their meaning within the everyday lives of those by whom and for whom they were made. The studies give a nuanced delineation of the inherently ambiguous boundary between conventional religion and magic, noting repeatedly those instances wherein the two are invoked in the same breath (and by way of the same art object), toward the same end. From this historically constructed matrix of art, belief, and ritual, the author derives an anthropologically defined paradigm of charisma and pilgrimage (applied in one essay, as an intriguing parallel, to deconstructing the world of a contemporary secular "saint," Elvis Presley).

Professor Slim deals here with the several roles that music can play in the artworks of the Renaissance, looking in particular at Italian painting of the 16th century. For understandable reasons, art historians sometimes neglect the role of music and, especially, that of musical notation when studying works of art. These studies not only identify musical compositions, wholly or partially inscribed in paintings - and tapestries, ceramics, prints as well - but also seek reasons why these particular musical compositions were included and analyse their relevance to the scene depicted. Furthermore, as many of these studies show, identifying a musical composition, especially if it has a text, leads to the formation of ideas about iconographical functions and thus augments interpretations of the visual art.