Frank Lloyd Wright is one of the 20th century's best-known architects. Over 40 years after his death, historical and critical comment and debate are increasing and controversy continues to surround him. This volume is a chronologically arranged, annotated bibliography of English- and foreign-language sources including over 3,500 primary entries, with thousands more connected references, presented alphabetically by decades and genres. The book documents not only the literature on Wright from 1886 to the present, but also his own extensive writings. It covers source books, monographs, anthologies, exhibition catalogues, book and exhibition reviews, periodical articles, and obituaries. All references are indexed by personal names, buildings, and projects. There is also a photo-essay comprised entirely of images published here for the first time, and a comprehensive chronology of the architect's life and career, which spanned 70 years and produced about 450 buildings and almost 550 unrealized architectural projects. The book will be of great value to scholars, students, and practitioners.

Scion of an artistic dynasty, Giovanni Bellini is arguably the greatest Venetian painter of the early Renaissance. His astonishing naturalism revolutionised altarpiece painting and is still a source of wonder, as any visit to Frari in Venice will confirm. Most of what we know about this great artist comes from the earliest biographies by Vasari and Ridolfi printed here - the Ridolfi never before translated into English. A different and very personal insight is given by extensive correspondence with Bellini's great but neglected patron Isabella d'Este.

Edmund de Waal is a world-famous ceramicist. Having spent thirty years making beautiful pots―which are then sold, collected, and handed on―he has a particular sense of the secret lives of objects. When he inherited a collection of 264 tiny Japanese wood and ivory carvings, called netsuke, he wanted to know who had touched and held them, and how the collection had managed to survive.

And so begins The Hare with Amber Eyes, this extraordinarily moving memoir and detective story as de Waal discovers both the story of the netsuke and of his family, the Ephrussis, over five generations.

A nineteenth-century banking dynasty in Paris and Vienna, the Ephrussis were as rich and respected as the Rothchilds. Yet by the end of the World War II, when the netsuke were hidden from the Nazis in Vienna, this collection of very small carvings was all that remained of their vast empire.

Andre Kertesz is one of four new titles being published in Autumn 2007 in Thames & Hudson's acclaimed 'Photofile' series. Each book brings together the best work of the world's greatest photographers in an attractive format and at an easily affordable price. Handsome and collectable, the books are printed to the highest standards. Each one contains some sixty full-page reproductions printed in superb duotone, together with a critical introduction and a full bibliography.

For fans of big-screen monster films, KAIDA Yuji is a very well known name. Best known for his vivid illustrations of Godzilla and other popular Toho kaiju, some of Mr KAIDA's most beautiful work is presented here in this full-color flexicover volume. This book's 128 pages are packed with lush artwork, including a brand new piece showing Godzilla in London, created especially for this book.Whether you are an admirer of this Japanese master's work or just a fan of monster movie art, this book is an essential purchase!

KURT JACKSON

A new book about the British landscape painter Kurt Jackson (b. 1961).

This new hardback edition includes many new illustrations. including photographs taken for this new edition. The text has been completely updated.

EXTRACT FROM CHAPTER 4:

One of Kurt Jackson s appealing concepts is that the ocean is one of the last true wildernesses left on the planet. It s an idea that I found very interesting when he explained it to me when we first met in St Just. I took it that he meant a spiritual as well as an ecological or natural wilderness. Jackson s art can thus be seen as an art that is the border region between humanity and nature, between culture and nature, as well as literally tackling that area the coast which is neither land nor sea.

Note that Kurt Jackson is always facing outwards from the land, and looking towards the ocean, not painting with his back to the sea, and looking towards the land (and notice that the many boats and ships and helicopters and such in this area are left out of the paintings, too).

So Jackson s Porth series, about Priest Cove, and all of his sea paintings, are very important in his art in articulating this idea of the ocean as the last wilderness. Have you ever wondered what s out there? is a question that Kurt Jackson asks (it s the title of one of his major paintings, too the centrepiece of the Porth series).

Jackson has repeated the question over a number of related works: the title of two 2004 pieces is The Last Wilderness In Western Europe? This was painted on Jura (in Scotland), and both pictures are consciously emptied of human marks just empty moorland and a delicate blue sky. An earlier picture, part of the Cape series, was entitled Do You Ever Wonder What s Out There? (1999) an unusual composition in the Jackson oeuvre which puts the horizon very high, and focusses on the dark blue ocean flecked with white spray.

Kurt Jackson isn t that interested in many of the connotations of the ocean the moon, time, goddesses, rebirth (though moons do appear in his art from time to time). He s not really interested in religious or pagan or magical symbols in that way. And he s not that interested in shipping, fishing, and all things maritime, like J.M.W. Turner was.

But when Jackson asks a question like have you ever wondered what s out there?, and considers the sea as one of the last wildernesses, that alters the interpretation of his sea paintings. It doesn t apply to all of them, though: in plenty of paintings (and not only the smaller or more modest ones), Jackson is not thinking in terms of big themes. But when he titles a painting Have You Ever Wondered What s Out There? (and writes the title in big letters across the painting), it s clearly intended to resonate in the viewer at a deeper level.

In this remarkable, inspiring collection of essays, acclaimed writer and critic Olivia Laing makes a brilliant case for why art matters, especially in the turbulent political weather of the twenty-first century. Funny Weather brings together a career's worth of Laing's writing about art and culture, examining their role in our political and emotional lives. She profiles Jean-Michel Basquiat and Georgia O'Keeffe, reads Maggie Nelson and Sally Rooney, writes love letters to David Bowie and Freddie Mercury, and explores loneliness and technology, women and alcohol, sex and the body. With characteristic originality and compassion, she celebrates art as a force of resistance and repair, an antidote to a frightening political time. We're often told that art can't change anything. Laing argues that it can. Art changes how we see the world. It makes plain inequalities and it offers fertile new ways of living.

Van Eyck is now seen as the artist who bridged the gap between the medieval and the modern. His story is the story of modern art - the turbulent clash of ideologies, the shifting and making of taste, the perfect timing of historical event and technological change, the politics of the art world and the cult of celebrity. The Enlightenment had quietly placed van Eyck in the Gothic tradition. Then Napoleon looted panels of his masterwork, the Ghent Altar-piece, and took them back to the Louvre. With his work centre stage in the greatest art gallery of the time, interest in van Eyck exploded across Europe. The nineteenth century saw the arrival of van Eyck mania, with ever-more fanciful tales in the art press of his life as inventor of oil painting, monkish painter, even arsonist and murderer; with scenes from his life, cheap colour prints and van Eyck carpets and mirrors vying for popular consumption; and with the claiming of van Eyck as the first Pre-Raphaelite. Today, van Eyck is regarded as the first realist painter, with popular and scholarly attention shifted from the Ghent Altar-piece - also looted by Hitler and stored in an Austrian salt-mine during the Second World War - to the riddle of his celebrated Arnolfini Portrait. Inventing van Eyck tells the extraordinary story of the making of an artist for the modern age.

CONSTANTIN BRANCUSI

Constantin Brancusi is one of the greatest of all sculptors, and a key sculptor of the modern era, with Auguste Rodin and Pablo Picasso. Brancusi's influence can be seen in a wide range of Western sculptors, including Donald Judd, Carl Andre, Henry Moore, Jean Arp, Barbara Hepworth, Minimalists and land artists.

This new book studies the religious and mythical dimensions of Constantin Brancusi's distinctive scultpural forms, the 'eggs', 'fishes', 'heads' and 'columns'. His central quest was for the 'essence of things', which resulted in purifying a form until only the essence was left.

It was Constantin Brancusi's project to strip away the detritus that had accumulated around sculpture, Henry Moore said, and to offer the pure, simple shape. What Brancusi did was 'to concentrate on very simple shapes, to keep his sculpture, as it were, one-cylindered, to refine and polish a single shape to a degree almost too precious.'

As well as being a sculptor, Constantin Brancusi was also an accomplished photographer. Quite a few artists (not all of them sculptors) have expressed for Brancusi's photographs, and the way he would set up his sculptures inhis studio and photograph them at particular times of the day, when the lightingwas just right. They are early examples of installation art (and some of the best, too). Andy Goldsworthy said he admired how Brancusi created the right conditions in his studio so that his work 'comes alive at a particular time of the day as the light momentarily touches it'. For Goldsworthy, Brancusi's works were at their best when they were arranged by the sculptor in his studio and photographed. Somehow, it wasn't quite the same when they were displayed in modern art museums (such as the Pompidou Centre in Paris or the Museum of Modern Art in Gotham, which have important Brancusi pieces).

Fully illustrated, including many photos of Brancusi's studio in Paris, and the art of his contemporaries.

The artwork that Vincent van Gogh is famous for was made in a tempest of creativity; a manic, impassioned decade that resulted in extensive output at great personal cost. The artist struggled most of his life with depression and madness, aspiring to create beauty which would, in turn, inspire happiness around the world. From The Potato Eaters to Sunflowers, and The Bedroom to Starry Night, Vincent van Gogh will forever be viewed as the father of Post-Impressionism. Printed with soy-based inks on FSC certified paper, this deluxe wall calendar features large monthly grids that offer ample room for jotting notes, along with six bonus months of July through December of 2022. It also includes moon phases (CST), standard U.S. and international holidays.

American artist, Joan Jonas' experimental projects in the late sixties and early seventies were essential to the development of contemporary performance, video, and conceptual art. Born in New York in 1936, she is regarded as a pioneer of video art and performance. Her work fuses video, dance, theatre, sculpture, drawing. Her projects have included collaborations with dancers like Trisha Brown and Yvonne Rainer and composers like Alvin Lucier. She investigates space, perception and time, ritual gestures, symbolic objects and stereotypes (especially female cliches), and the magical role of the narrator who conveys a drama in each action.

This book presents the life and work of the Victorian landscape painter Alfred Augustus Glendening (1840-1921). With beautiful illustrations of his pictures, showing a timeless countryside, it explores Glendening's rapid rise from railway clerk to acclaimed artist. Whilst critics often reviewed his exhibited works, very little has been written about the artist himself. Here, new and extensive research removes layers of mystery and misinformation about his life, family and career, accurately placing him in the midst of the British art world during much of the nineteenth and into the twentieth century. Glendening was a man from humble origins, working fulltime as a railway clerk, yet was able to make his London exhibition debut at the age of twenty. This would have been almost impossible before the Victorian era, an extraordinary period when social mobility was a real possibility. Although his paintings show a tranquil and unspoiled landscape, his environment was rapidly being transformed by social, scientific and industrial developments, while advances in transport, photography and other technical discoveries undoubtedly influenced him and his fellow painters. Celebrating his uniquely Victorian story, the book places Glendening within his historical context. Running alongside the main text is a timeline outlining significant landmarks, from political and social events to artistic and technical innovations. Thoroughly researched over many years, the narrative explores why and for whom he painted, his artistic training and inspirations. Painting at Hampton and Greenwich, beside the River Thames, Glendening soon discovered the Welsh hills and became a member of the Bettws-y-Coed Artists' Colony, founded by David Cox. His masterful landscapes also include views of the Scottish Highlands, the Lake District, the Norfolk Broads, the South Downs and the Isle of Wight. The book uncovers new information about the Victorian art world and embraces such aspects as Royal Academy prejudices, the popularity of Glendening's work at home and abroad, especially Australia and America, his use of photography, and the sourcing of his art materials. Family trees are included, and other artistic family members discussed, notably his son and pupil Alfred Illman Glendening (1861-1907). There is a comprehensive list of their exhibited works at the Royal Academy and other major institutions, and details of their paintings in public collections.