Reassessing key intellectual and cultural traditions using an interdisciplinary approach, this book examines the legacy of the Baroque, the dynastic past in visual culture and the concurrence of different artistic styles in Germany during the eighteenth century, such as the Italianate, Francophile and Anglophile within the courtly sphere. The following arenas of enquiry represent organizing strands; courtly society and employment practices; court and artist, and print culture. The study addresses how elite patronage and Princely taste impacted the social formation of artistic culture at courts in northern and central Germany, Austria, and England. Contributions drawn from a variety of disciplinary perspectives in the arts and fine arts including visual culture, philosophy and comparative literature discuss the volume's theme in a series of focused case studies by experts in these distinctive fields. As such, the volume fills an important gap in English language scholarship on courtly Germany and Austria. Although previous publications have addressed patronage in the eighteenth-century Austro-German context, major questions relating to artistic influence, changing contexts of viewing and the employment of itinerant musicians and artists in eighteenth-century German courts still remain unaddressed. To address this, the book offers an interdisciplinary perspective, and gathers its conclusions from the interrelated fields of philosophy, visual culture, literature and print culture. Through its specific case-focused approach, the volume makes a departure from prior scholarship by identifying these as mutually exclusive fields. Topics discussed include discourses of luxury and sumptuary excess, changing contexts of viewing, the advent of universal collections, and the lure of the classical past. In literature, patron-author relationships were informed by contemporary ideas of 'genius' together with the reality of changing readerships. Connecting artistic forms to social formation in particular, case studies address the transmission of taste through aristocratic family networks, the creation of new audiences for art through print culture, and the permeation of courtly values into bourgeois cultural forms during the late eighteenth century. The book is aimed at a wide interdisciplinary audience, (history, philosophy, European studies, art history and comparative literature) and will also be of interest to specialist scholars, graduate students, and academic libraries.

Essential quotations from renowned artist and pop icon Keith Haring Keith Haring remains one of the most important and celebrated artists of his generation and beyond. Through his signature bold graphic line drawings of figures and forms dancing and grooving, Haring's paintings, large-scale public murals, chalk drawings, and singular graffiti style defined an era and brought awareness to social issues ranging from gay rights and AIDS to drug abuse prevention and a woman's right to choose. Haring-isms is a collection of essential quotations from this creative thinker and legendary artist. Gathered from Haring's journals and interviews, these lively quotes reveal his influences and thoughts on a variety of topics, including birth and death, possibility and uncertainty, and difference and conformity. They demonstrate Haring's deep engagement with subjects outside of the art world and his outspoken commitment to activism. Taken together, this selection reflects Haring's distinctive voice and reminds us why his work continues to resonate with fans around the globe. Select quotations from the book: "Art lives through the imaginations of the people who are seeing it. Without that contact, there is no art." "It's a huge world. There are lots and lots and lots of people that I haven't reached yet that I'd like to reach." "Art is one of the last areas that is totally within the realm of the human individual and can't be copied or done better by a machine." "The artist, if he is a vessel, is also a performer." "No matter how long you work, it's always going to end sometime. And there's always going to be things left undone." "I decided to make a major break. New York was the only place to go." "I came to believe there was no such thing as chance. If you accept that there are no coincidences, you use whatever comes along." "There was a migration of artists from all over America to New York. It was completely wild. And we controlled it ourselves." "I couldn't go back to the abstract drawings; it had to have some connection to the real world."

Issue 42 of Afterall addresses the crisis of representation in contemporary art through the work of Pierre Huyghe and Tania Bruguera, reflecting on how they each intervene into biological and political systems. We also put a spotlight on the contributions of two lesser-known women artists Indonesian Arahmaiani and Egyptian Inji Efflatoun and their capacity to speak truth to power in their respective contexts. Finally, accompanying essays include Charles Esche on Chinese artist Li Mu, Diedrich Diederichsen on political art, and an interview with Walter Benjamin.

Jean-Michel Basquiat was only twenty-seven when he died in 1988, his meteoric and often controversial career having lasted for just eight years. Despite his early death, Basquiat's powerful A uvre has ensured his continuing reputation as one of modern art's most distinctive voices. Borrowing from graffiti and street imagery, cartoons, mythology and religious symbolism, Basquiat's drawings and paintings explore issues of race and identity, providing social commentary that is shrewdly observed and biting. This bestselling book, now available in a compact edition, celebrates Basquiat's achievements in the contexts of the key influences on his art. It not only re-evaluates the artist's principal works and their meaning, but also explains what keeps his painting relevant today.

Collected for the first time in a new translation: two of the most important and far-reaching biographies of an artist ever written, and our principal sources for the life of Velazquez. Diego Velazquez (1599-1660) is for many the greatest painter ever to have lived. His astonishing naturalism had an immediate and lasting impact on his contemporaries, inspiring both awe and fierce debate. Most of what we know about Velazquez' life and incomparably successful career comes from these two biographies. Francisco Pacheco, a second rank painter, was Velazquez' teacher and eventually father-in-law - possibly the closest relationship between a painter and his biographer in all art. This Life, part of Pacheco's theoretical work, the Art of Painting, has never been translated before, and it reveals the scale of the challenge to traditional painting presented by Velazquez' insurmountable talent. Antonio Palomino, the Spanish Vasari, was born just after Velazquez died, but knew many of the painter's friends and colleagues. His biography, precise and detailed, is an incomparable source, but like Pacheco's text, also tackles the aesthetic debate engendered by Velazquez' choice of subject matter and style. Together these biographies give an excitingly close insight into the mind and world of a great painter. The introduction by Michael Jacobs situates these biographies in the context of Spain's Golden Age, and the intellectual ferment in painting and in the theatre that lie behind Velazquez' magic. The translations are by Nina Ayala Mallory, the leading scholar of Spanish artistic biographies. The volume is richly illustrated with 30 plates illustrating the full gamut of Velazquez' work.

Bodies mangled, limbs broken, skin flayed, blood spilled: from paintings to prints to small sculptures, the art of the late Middle Ages and early modern period gave rise to disturbing scenes of violence. Many of these torture scenes recall Christ's Passion and its aftermath, but the martyrdoms of saints, stories of justice visited on the wicked, and broadsheet reports of the atrocities of war provided fertile ground for scenes of the body's desecration. Contributors to this volume interpret pain, suffering, and the desecration of the human form not simply as the passing fancies of a cadre of proto-sadists, but also as serving larger social functions within European society. Taking advantage of the frameworks established by scholars such as Samuel Edgerton, Mitchell Merback, and Elaine Scarry (to name but a few), Death, Torture and the Broken Body in European Art, 1300-1650 provides an intriguing set of lenses through which to view such imagery and locate it within its wider social, political, and devotional contexts. Though the art works discussed are centuries old, the topics of the essays resonate today as twenty-first-century Western society is still absorbed in thorny debates about the ethics and consequences of the use of force, coercion (including torture), and execution, and about whether it is ever fully acceptable to write social norms on the bodies of those who will not conform.

Rembrandt Harmensz. van Rijn (c.1606-1669) was the most talked-about painter of the 17th-century - and quite possibly of the following centuries too. His prodigious talent, extraordinary emotional truth, and reckless disregard of artistic convention astonished, delighted and often dismayed his contemporaries; and the full gamut of these reactions is revealed in the three early biographies published here for the first time in their entirety in English. Sandrart, a German painter and writer on painting, actually knew Rembrandt in Amsterdam; Baldinucci, also an artist contemporary with Rembrandt, was one of the greatest early connoisseurs of prints; and Arnold Houbraken, who studied under some of Rembrandt's pupils, wrote the earliest major biographical account of the artists of Holland. These extraordinary documents give a vivid picture of Rembrandt's shattering impact on the art world of his time - not only as a painter, but as a supremely successful manipulator of the market, a dangerous example to the young, and an unavoidable challenge to any sense of decorum and rule-giving. Rooted firmly in the 17-century realities of Rembrandt's life, they bring into sharper focus the qualities of originality and psychological acuity that remain Rembrandt's trademark to this day. The introduction by Charles Ford situates these biographies in the context of 17th-century appreciation of art, and the trajectory of Rembrandt's career. The translations have been specially prepared for this edition by Charles Ford, aided by Ulrike Kern and Francesca Migliorini, and in part following the work of Tancred Borenius.

A Financial Times Book of the Year 2022 A penetrating analysis of the work of one of the most influential painters in the history of modern art by one of the world's most respected art historians. For more than a century the art of Paul Cezanne was held to hold the key to modernity. His painting was a touchstone for Samuel Beckett as much as Henri Matisse. Rilke revered him deeply, as did Picasso. If we lost touch with his sense of life, they thought, we lost an essential element in our self-understanding. If These Apples Should Fall: Cezanne and the Present looks back on Cezanne from a moment - our own - when such judgments may seem to need justifying. What was it, the book asks, that held Cezanne's viewers spellbound? At the heart of Cezanne lies a sense of disquiet: a homelessness haunting the vividness, an anxiety underlying the appeal of colour. T. J. Clark addresses this strangeness head-on, examining the art of Pissarro, Matisse and others in relation to it. Above all, he speaks to the uncanniness and beauty of Cezanne's achievement.

The speed and scale of urbanisation in India is unprecedented almost anywhere in the world and has tremendous global implications. The religious influence on the urban experience has resonances for all aspects of urban sustainability in India and yet it remains a blind spot while articulating sustainable urban policy. This book explores the historical and on-going influence of religion on urban planning, design, space utilisation, urban identities and communities. It argues that the conceptual and empirical approaches to planning sustainable cities in India need to be developed out of analytical concepts that define local sense of place and identity. Examining how Hindu religious heritage, beliefs and religiously influenced planning practices have impacted on sustainable urbanisation development in Jaipur and Indian cities in general, the book identifies the challenges and opportunities that ritualistic and belief resources pose for sustainability. It focuses on three key aspects: spatial segregation and ghettoisation; gender-inclusive urban development; and the nexus between religion, nature and urban development. This cutting-edge book is one of the first case studies linking Hindu religion, heritage, urban development, women and the environment in a way that responds to the realities of Indian cities. It opens up discussion on the nexus of religion and development, drawing out insightful policy implications for the sustainable urban planning of many cities in India and elsewhere in South Asia and the developing world.

In 1917, Marcel Duchamp sent out a 'telegram' in the guise of a urinal signed R. Mutt. When it arrived at its destination a good forty years later it was both celebrated and vilified as proclaiming that anything could be art; from that point on, the whole Western art world reconfigured itself as 'post-Duchamp'. This book offers a reading of Duchamp's telegram that sheds new light onto its first reception, corrects some historical mistakes and reveals that Duchamp's urinal in fact heralds the demise of the fine arts system and the advent of what Thierry de Duve calls the 'Art-in-General' system. Further, the author shows that this new system does not date from the 1960s but rather from the 1880s. Duchamp was neither its author nor its agent, but rather its brilliant messenger.

The survey began in April 1988 as interviews with artists,jewellers, fashion designers and furniture restorers, based at Old Loom House Studios, Whitechapel, launching a quarterly review Cv Journal of Art and Crafts. Cv Journal was published to 1992 and the collection of interviews, features and reviews provided the basis of the Cv/Visual Arts Research archive and subsequent publications. The archive is published as books and digital files, as well as CDs and DVDs in Cv's software catalogue. Cv/VAR series number 101, Small Histories is a collection of essays and reviews by Nicholas James on examples of Western art: The Trinity by Masaccio at Santa Maria Novella, Florence, Vermeer's The Maid and Woman Weighing Pearls;Velazquez court portraits, Cezanne and Salvador Dali, Francis Bacon, Anthony Caro, Damien Hirst and Andy Warhol, There are reviews of exhibitions in London's public and private galleries from 1993 to 2010. The collection of over seventy pieces reveals discreet strands that bind the continuum of classic and contemporary art.

Marie Laurencin, in spite of the noticeable reputation she made in Paris in the first half of the twentieth century, has attracted only sporadic attention by late-twentieth century art historians. Until now the substance of her art and the feminist issues that were entangled in her life have been narrowly examined or reduced by an author's chosen theoretical format; and the terms of her lesbian identity have been overlooked. In this case study of une femme inadaptee and an unfit feminist, Elizabeth Kahn re-situates Laurencin in the on-going feminist debates that enrich the disciplines of art history, women's studies and literary criticism. Kahn's thorough reading of the artist's visual and literary production ensures a comprehensive overview which addresses notable works and passages but also integrates those that are less well known. Incorporating feminist theory and building on the work of contemporary feminist art historians, she avoids the heroics of conventional biography, instead allowing her subject to participate in the historical collective of women's work. Provocative and engagingly written, this fresh new study of Marie Laurencin's life and works also explores the multiple valences by which to connect the histories of, and find new connections between, women artists across the twentieth century.

The 'beauties' - women of note - who were welcomed to the National Portrait Gallery's early collection were those whose lives and portraits were recognized as significant to the 'civil, ecclesiastical and literary history of the nation'. This brief was interpreted to include figures as diverse as the devout Lady Margaret Beaufort, and the entertaining Lady Emma Hamilton. History's Beauties, the first detailed study of this collection, maps a culture of femininity that reframes the Victorian fascination with women's domestic and sentimental presence by locating it within a Parliament-centred 'national' culture. Including an essay on the Gallery's Trustees, the book traces the translation of their governors' culture to a public institution through discussions of three themes in the National Portrait Gallery's collection of women's portraits: portraits of the Royal family and the cult of legitimacy in antiquities and in national identity; the educated woman as model of domestic and national cultivation; and finally the role of female beauty in defining social and artistic power in nineteenth-century Britain. The first monograph study of gender in a major museum, History's Beauties engages themes of gender, national identity, class cultures, and aesthetics in Victorian England to interpret the National Portrait Gallery's fascinating collection.

With a body of work that explores a broad spectrum of subjects - from lesbianism and feminism to contemporary politics and the natural world - Nicole Eisenman (b.1965) challenges convention and encourages viewers to construe meanings from images that demand interrogation and debate. Illustrating paintings spanning the early 1990s to the present day, Dan Cameron unpacks the complexities of Eisenman's oeuvre via thematic chapters that address key ideas which emerge when drawing specific works together. As such, this first major account of Eisenman's painting career, presents a clear analysis of the primary motivators that have fuelled the imagination of one of the most interesting and original contemporary artists working today.

Rembrandt Harmenszoon van Rijn was the leading painter and graphic artist of the 'Golden Age of Dutch Art'. He excelled in imbuing his art with the 'deepest and most lifelike emotion', with rich detail and stunning lighting. This richly enjoyable book gives the reader an illuminating overview of the life, work and influences of the artist, before going on to showcase the most stunning and varied examples of his oeuvre, broken down into themes - Portraits, Landscape & Narrative, Self-portraits, and Etchings & Drawings. Discover his versatility in the range of works selected, from the electric The Storm on the Sea of Galilee to the treasured The Night Watch, with its triumph in chiaroscuro and energy. A visual feast, it will underline the artist's status as a true master.

Food and design have always been perfect partners, and are relevant to all aspects of our lives. No matter which country you come from, designers are committed to creating more beauty for people's lives. Reinventing the way we look at food opens up possibilities for a healthier lifestyle, and allows us to enjoy life better, enjoy the design of love, and be a happy "food". This appetizing book covers exemplary illustrations of the world's best food brand packaging, brand image design and eatery interiors, where the design is as delicious and the food itself. The book has more than 300 pages showcasing unique creative and design applications from the airport buffet bar, healthy fast food chain brand, coffee shop, open-air market, tea house, food fair, dim sum house to the craft beer brewery.

As queen consort and dowager, Hedwig Eleonora (1636-1715) held a unique position in Sweden for more than half a century. As the dominant collector and patron of art and architecture in the realm, she left a strong mark on Swedish court culture. Her dynastic network among the Northern European courts was extensive, and this helped to make Sweden a major cultural center in Northern Europe in the later seventeenth century. This book represents the first major scholarly publication on the full range of Hedwig Eleonora's endeavours, from the financing of her court to her place within a larger princely network, to her engagements with various cultural pursuits, to her public image. As the contributors show, despite her high profile, political position, and conspicuous patronage, Hedwig Eleonora experienced little of the animosity directed at many other foreign queens and regents, such as the Medici in France and Henrietta Maria in England. In this way, she provides a model for a different and more successful way of negotiating the difficulties of joining a foreign court; the analysis of her circumstances thus adds a substantial dimension to the study of early modern queenship. Presenting much new scholarship, this volume highlights one extremely significant early modern woman and her imprint on Northern European history, and fosters international awareness of the importance of early modern Scandinavia for European cultural history.

The contributions include Arnold Victor Coonin, Preface and Acknowledgments; Debra Pincus, "Like a Good Shepherd" A Tribute to Sarah Blake McHam; Amy R. Bloch, Perspective and Narrative in the Jacob and Esau Panel of Lorenzo Ghiberti's "Gates of Paradise"; David Boffa, Sculptors' Signatures and the Construction of Identity in the Italian Renaissance; Meghan Callahan, Bronzino, Giambologna & Adriaen de Vries: Influence, Innovation and the "Paragone"; Arnold Victor Coonin, "The Spirit of Water" Reconsidering the "Putto Mictans" Sculpture in Renaissance Florence; Kelley Helmstutler Di Dio, From Medalist to Sculptor: Leone Leoni's Bronze Bust of Charles V; Phillip Earenfight, "Civitas Florenti a]e" The New Jerusalem and the "Allegory of Divine Misericordia"; Gabriela Jasin, God's Oddities and Man's Marvels: Two Sculptures of Medici Dwarfs; Linda A. Koch, Medici Continuity, Imperial Tradition and Florentine History: Piero de' Medici's "Tabernacle of the Crucifix" at S. Miniato al Monte; Heather R. Nolin, A New Interpretation of Paolo Veronese's "Saint Barnabas Healing the Sick"; Katherine Poole, Medici Power and Tuscan Unity: The Cavalieri di Santo Stefano and Public Sculpture in Pisa and Livorno under Ferdinando I; Lilian H. Zirpolo, Embellishing the Queen's Residence: Queen Christina of Sweden's Patronage of Gian Lorenzo Bernini and Members of His Circle of Sculptors; Sarah Blake McHam's List of Publications. 1st printing. 338 pages. 117 illustrations. Preface, bibliography, index.

In post-1991 Macedonia, Barok furniture came to represent affluence and success during a period of transition to a new market economy. This furniture marked the beginning of a larger Baroque style that influenced not only interior decorations in people's homes but also architecture and public spaces. By tracing the signifier Baroque, the book examines the reconfiguration of hierarchical relations among (ethnic) groups, genders, and countries in a transnational context. Investigating how Baroque has come to signify larger social processes and transformations in the current rebranding of the country, the book reveals the close link between aesthetics and politics, and how ethno-national conflicts are reflected in visually appealing ornamentation.

Rozita Dimova is Associate Professor of South East European Languages and Culture at Ghent University (Belgium) and Senior Research Fellow at the Institute of Slavonic Studies at Humboldt University in Berlin (Germany). She is guest co-editor of the issue of "History and Anthropology" (Winter 2013, vol. 24), entitled "Contested Nation-building within the International 'Order of Things': Performance, Festivals and Legitimization in South-Eastern Europe." Currently, she is completing a book manuscript on borders and neoliberalism in South-Eastern Europe.

"...here's eye candy on every page of the book." - Natural Diamonds This sumptuous book showcases the work of women jewellers in the 20th century. Beginning with Arts & Crafts jewellers in Britain, Europe and North America, the author then examines the key figures and movements of the pre-war period including Coco Chanel's legendary 'Bijoux de Diamants' exhibition of 1932, the designs of Suzanne Belperron and the roles of Jeanne Toussaint at Cartier and Renee Puissant at Van Cleef & Arpels. From the 1950s to the present day, a wide range of international designers are examined in detail with many examples of their work clearly illustrated. The author focuses on themes associated with jewellery, including colour, light, proportion, nature and legends. Among the many names included are Vivianna Torun Bulow-Hube (designer for Georg Jensen), Margaret De Patta, Wendy Ramshaw, Angela Cummings, Paloma Picasso, Marina B, Lydia Courteille and Michelle Ong. Jewellery firms include: Boivin, Cartier, Van Cleef & Arpels, Bulgari, Jensen, Tiffany & Co. Designers featured: Alma Pihl, Coco Chanel, Suzanne Belperron, Juliette Moutard, Olga Tritt, Elisabeth Treskow, Margaret de Patta, Jeanne Toussaint, Line Vautrin, Margret Craver, Vivianna Torun Bulow-Hube, Nanna Ditzel, Marianne Ostier, Barbara Anton, Gerda Floeckinger, Astrid Fog, Cornelia Roethel, Catherine Noll, Angela Cummings, Elsa Peretti, Wendy Ramshaw, Marina B, Marie-Caroline de Brosses, Marilyn Cooperman, Paloma Picasso, Victoire de Castellane, Alexandra Mor, Ornella Iannuzzi, Neha Dani, Paula Crevoshay, Nathalie Castro, Claire Choisne, Bina Goenka, Carla Amorim, Monique Pean, Michelle Ong - Carnet, Kara Ross, Lydia Courteille, Suzanne Syz, Sylvie Corbelin, Kaoru Kay Akihara - Gimel, Katey Brunini, Luz Camino, Cindy Chao, Aida Bergsen, Anna Hu, Barbara Heinrich, Jacqueline Cullen, Cynthia Bach.