With this book, Emmelyn Butterfield-Rosen brings a new formal and conceptual rubric to the study of turn-of-the-century modernism, transforming our understanding of the era's canonical works. Butterfield-Rosen analyzes a hitherto unexamined formal phenomenon in European art: how artists departed from conventions for posing the human figure that had long been standard. In the decades around 1900, artists working in different countries and across different media began to present human figures in strictly frontal, lateral, and dorsal postures. The effect, both archaic and modern, broke with the centuries-old tradition of rendering bodies in torsion, with poses designed to simulate the human being's physical volume and capacity for autonomous thought and movement. This formal departure destabilized prevailing visual codes for signifying the existence of the inner life of the human subject. Exploring major works by Georges Seurat, Gustav Klimt, and the dancer and choreographer Vaslav Nijinsky- replete with new archival discoveries-Modern Art and the Remaking of Human Disposition combines intensive formal analysis with inquiries into the history of psychology and evolutionary biology. In doing so, it shows how modern understandings of human consciousness and the relation of mind to body were materialized in art through a new vocabulary of postures and poses.

The ways of war in the Middle Ages never cease to fascinate. There is a glamour associated with knights in shining armour, colourful tournaments and heroic deeds which appeals to the modern imagination. Because medieval warfare had its colourful side it is easy to overlook the face that war was a very serious business in an age when brute force was the recognised way of settling a quarrel, and conflict formed a normal way of life at every level of society. This book illustrates the art of war with dozens of medieval images from books and manuscripts, and reveals a wealth of social and military background on heraldry, armour, knights and chivalry, castles, sieges, and the arrival of gunpowder. This new edition is completely revised with a selection of new illustrations from the British Library's medieval manuscripts.

In this meditation/how-to guide on drawing as an ethnographic method, Andrew Causey offers insights, inspiration, practical techniques, and encouragement for social scientists interested in exploring drawing as a way of translating what they "see" during their research.

Future Bodies from a Recent Past brings to life a hitherto little-noticed phenomenon in art and sculpture in particular: the reciprocal interpenetration of bodies and technology. With 120 works by 59 artists-primarily from Europe, the USA and Japan-the exhibition is dedicated to the major technological changes since the post-war period and examines their influence on our notions of bodies. With contributions on topics such as the influence of changing production technologies, materialities, and concepts of the body, but also interdisciplinary considerations of body-technology relations, a multi-perspective history of contemporary sculpture will be outlined. German Edition! Exhibition Museum Brandhorst Munich 2 June 2022 until 15 January 2023

In our imaginings of Paris, painter and graphic artist Henri de Toulouse-Lautrec (1864-1901) has no small role to play. In his prints, posters, paintings, and drawings, the artist immortalized the city's Belle Epoque nightlife and put the northern neighborhood of Montmartre on the global map of creative-hedonist hotspots. The son of old French nobility, Toulouse-Lautrec seems to have been drawn early on to visions of a demimonde, centering his attention on the dance halls, cabarets, and brothels of Montmartre and adopting famed dancers and singers as his subjects, most notably Jane Avril. His works include both lively performance scenes and quiet, tender "after-hours" portraits such as The Sofa and In Bed. Stylistically, he mastered both bold graphics, as celebrated in his promotional posters of Jane Avril, and a loose yet evocative sketchwork. Though he died aged just 36, due to complications from alcoholism and syphilis, Toulouse-Lautrec's cultural influence was immense. This introductory book takes a walk through his world of singers, dancers, musicians, and prostitutes to reveal an artist of great humanity, striking figurative skill, and a pronounced sense for the energy and stories of a city. About the series Born back in 1985, the Basic Art Series has evolved into the best-selling art book collection ever published. Each book in TASCHEN's Basic Art series features: a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance a concise biography approximately 100 illustrations with explanatory captions

This book, published to accompany the exhibition of the same title, explores Jean-Paul Riopelle's interest in northern Canada and his works devoted to this theme. It highlights in particular the wonderful series of paintings he made in the 1970s, including both the works themselves and archival materials that delve into this period when Riopelle was especially energetic. It was a time when he organised a number of trips to the region to fish, hunt, and immerse himself in nature, seeking the communion that was so dear to him. But it was not just the vegetation in northern Canada that attracted Riopelle; the indigenous peoples he encountered were also a source of great inspiration for him. In combination, these two aspects of the land filled his imagination and molded his intellectual and artistic perspective. The reader will become acquainted with his less well known and unpublished works, and follow Riopelle's artistic development as he ranged over the frozen landscapes of the far north and the limitless forests further south, taking stock of the way the natives adapted to their environment. The book emphasises the fact that Riopelle's oeuvre deliberately kept its distance from works that depicted nature as the defining emblem of the Canadian nation. Rather, the artist was the bearer of a unique personal sensibility that was able to visually evoke that particular territory in a dialogue between reality and imagination. The more than 100 works included in the book (paintings, sculptures, prints, and mixed-media works) are part of a narrative consisting of four main sections (Canadian Nordicity as Viewed from Paris; The Experience of the North; Borrowing from the North; The North and Art), whose themes are examined in essays contributed by specialists in relevant fields.

Hope Is a Silhouette is a body of intimate and introspective poetry with accompanying illustrations, both written and painted by Lana McDonagh. Observations on love, inner demons, lies, routine-the everyday facets and feelings of human experience that forever fascinate. This collection of sensitive poetry and captivating illustrations marks the exciting debut of a talented poet. Original artwork illustrates each poem. "Precise yet bursting with submerged emotion, Hope Is a Silhouette allows you into a deeply personal inner migration of beauty and bruised hope". - NICKY WIRE, Manic Street Preachers "The marriage of art and poetry has rarely been so gloriously exhibited in one unique debut volume. That the protagonist of both is one and the same person is both remarkable and utterly perfect, as it should be. Poems that tell of those magical and unforgettable moments of deep love and sensuality, of the joys and complexities of becoming a mother, the confusion despair and frustration of the uncaring world and the damage we sometimes seem unable to avoid inflicting on each other, are all addressed so succinctly and so elegantly that it is hard to fathom that this is Lana's first published work. Apart, each illustration, each poem, hits a nerve and tells a truth. Together they make for a deeply compelling experience. A major new talent." - SIMON RAYMONDE, Cocteau Twins & Bella Union Founder

A romantic view of 19th-century Canada -- a domestic complement to the work of Bartlett, Constable, and Kane.Anthony Flower (1792-1875) lived and worked in New Brunswick for most of his life. A farmer with a lifelong passion for art, he painted until his death at the age of eighty-three. His work opens a window on a time and place now gone. His paintings depict the life that he saw around him in rural New Brunswick and the events and scenes described in newspapers of the day.Anthony Flower's art was among the first in New Brunswick to depict rural New Brunswick. Through his paintings, we learn about day-to-day life, religion, how people dressed, what their interests were, and what was important to them, all important pieces to our understanding of everyday life in nineteenth-century Canada.Une vue romantique du Canada du XIXe siAcle. Un complA (c)ment domestique au travail de Bartlett, Constable et Kane.Anthony Flower (1792-1875) a vA (c)cu et travaillA (c) au Nouveau-Brunswick pendant la majeure partie de sa vie. Agriculteur passionnA (c) par l'art, il peint jusqu'A sa mort A l'Acge de quatre-vingt-trois ans. Son travail ouvre une fenAtre sur un temps et un lieu disparu. Ses peintures dA (c)peignent la vie qu'il a vue autour de lui dans les rA (c)gions rurales du Nouveau-Brunswick et les A (c)vA (c)nements et scAnes dA (c)crits dans les journaux de l'A (c)poque.L'art d'Anthony Flower a A (c)tA (c) parmi les premiers A reprA (c)senter le Nouveau-Brunswick rural. A travers ses peintures, nous apprenons la vie quotidienne, la religion, la faAon dont les gens s'habillent, quels sont leurs intA (c)rAts et ce qui est important pour eux, autant d'A (c)lA (c)ments importants pour notre comprA (c)hension de la vie quotidienne au Canada au XIXe siAcle.