'There's something about the Whiteknights area that makes people stay here.' - From the Foreword by Fiona Talkington, BBC Radio 3 Presenter and long-term resident Two hundred years ago, the aptly named 'Southern Hill' that rises steeply from the edge of the river plain south of Reading was part of Whitley and largely farmland. However, its vistas, fresh air and proximity to the town led prominent Victorians to invest in and develop the area and their contributions have shaped it into the 'village within a town' that it is today. Schools, the University, hotels and a care home now occupy many of the sites originally owned by the town's famous industrialists and their elegant homes have been co-opted for community use which gives the area its unique aura of egalitarian refinement. Celebrated in the annual walking tour of artists' studios, the creative heart of the district beats stronger than ever and this book brings together 28 artists to respond in their own way and their own medium to the place we call 'Whiteknights'. And to give context to the artwork, local historians paint a fascinating picture of the Whiteknights estate that became the University campus, the buildings, the streets and the people who lived here. This joint venture from the Whiteknights Studio Trail, celebrating 20 years, and Two Rivers Press, publishing in the area for 25 years, pays tribute to the heritage we are privileged to be part of.

Food has always been a favourite subject of the world's artists, from still-lifes by Matisse and Picasso to the works of Claes Oldenberg and Andy Warhol. But how do artists eat? The Modern Art Cookbook provides a window into how both great and lesser-known modern artists, writers and poets ate, cooked, depicted and wrote about food. A cornucopia of life in the kitchen and in the studio throughout the twentieth century and beyond, the book explores a wide-ranging panoply of artworks of food, cooking and eating from Europe and the Americas - from the early moderns through the Impressionists, Symbolists, Cubists, Futurists and Surrealists up to today's art - as well as writing about food from contemporary novelists, writers and poets. Beautifully illustrated and often surprising, this new paperback edition is a joyous guide to the art of food.

From antiquity to the Enlightenment, astrology, magic, and alchemy have always been considered important tools in unravelling the mysteries of nature and human destiny. As a result of the West's exposure to the astrological beliefs of Arab philosophers and the mystical writings of late antiquity, these occult traditions became rich sources of inspiration for Western artists.This latest volume in the "Guide to Imagery" series, presents an intelligent analysis of occult iconography in many of the great masterpieces of Western art - from the astrological symbols that decorated churches and illuminated manuscripts, through the work of a wide range of Renaissance artists, including Bosch, Brueghel, Durer and Caravaggio, to the visionary works of nineteenth-century artists, such as Fuseli and Blake, as well as in the creative output of the Surrealists during the twentieth century.

Der Verfasser ist bei der Verfolgung einer archaologischen Problematik auf ein Gebiet gefuhrt worden, zu dessen kompetenter Behandlung ihm die meisten Vor- aussetzungen fehlen. Sich trotzdem auf diese Untersuchung einzulassen, schien gerechtfertigt, wei! das Problem erst yom archaologischen Standpunkt aus seine eigentliche Scharfe bekommt. Allerdings muBte sich der Verfasser auf leicht zugangliche Quellen beschranken und konnte um des Zusammenhangs willen auch auf Materialien aus zweiter Hand nicht verzichten. Das letzte Wort wird naturlich beim Fachmann der Kunstgeschichte bleiben, der die Denkmaler und die literarischen Zeugnisse besser uberblickt. Auch lieBe sich fast jede der hier angefan- genen Betrachtungen betrachtlich vertiefen. Zeitliche Unterbrechungen der Arbeit und unterschiedliche Bibliotheksverhalt- nisse haben zu U nebenheiten in der Darstellung gefuhrt, die sich leider nicht mehr glatten lieBen. Fur die Nachweise konnte nicht immer auf die Standardwerke zuruckgegriffen werden. Zahlreiche Bucher standen nur kurzfristig zur Verfugung, so daB eine Kontrolle der Zitate und der referierten Meinungen nicht moglich war.