Etel Adnan (1925-2021) was a Lebanese-American poet, essayist and visual artist. This is the first book to present a full account of Adnan's fascinating life and work, using the drama of her biography, the complexity of her identity, and the cosmopolitan nature of her experience to illuminate the many layers and dimensions of her paintings and their progress over several crucial decades. Adnan came relatively late to painting - her first images were created in the late-1950s in response to the Californian landscape. Her vocabulary of lines, shapes and colours changed little over time, and yet there are huge variations in mood, texture, composition and material. Similarly, there is a balance between understanding her paintings as pure abstractions, emulating the shape of thought, and seeing them for the actual landscapes of the many places Adnan loved, embraced and responded to. Tackling the complexities of her subject with skill and insight, Kaelen Wilson-Goldie unpacks Adnan's multi-layered career to capture the full scope of her artistic endeavours and impressive achievements.

The book concerns female dress in Roman life and literature. The main focus is on female Roman dress as it may have been worn in daily life in Rome and in a social environment influenced by Roman culture in the time from the beginnings of the Republic until the end of the 2nd century AD. There is, however, a certain surplus as to its contents because many Latin texts also talk about mythical Greek dress and the largely fictional early Roman dress. Altogether, large parts of the history of Roman dress are only known to us through what scholars thought about it in Classical and Late Antiquity. For this reason, this book is not only about real female Roman dress, but also about the ancient pseudo-discourse on early female Roman dress, which has been taken too seriously by modern scholarship. This pseudo-discourse has been mixed together with real facts to produce an ahistorical fabric. It therefore appeared necessary to break with this old tradition and to take a completely new path. The detailed analysis of many texts on female Roman dress is the basis of this new handbook meant for philologists, historians, and archaeologists alike.

This important publication accompanies a major exhibition at The Courtauld Gallery, London, of paintings by Edvard Munch, one of the world's greatest modern artists. The exhibition and catalogue showcase 18 major works from the collection of KODE Art Museums in Bergen. The works span the most significant part of Munch's artistic development and have never before been shown as a group outside of Scandinavia. KODE houses one of the most important collections of paintings by Edvard Munch (1863-1944) in the world. The collection was assembled at the beginning of the 20th century by the Norwegian industrialist, mill owner and philanthropist Rasmus Meyer (1858-1916), who was one of the first significant early collectors of Munch's work. Meyer knew Munch personally and was astute in acquiring major canvases by the artist that chart his artistic development. Edvard Munch: Masterpieces from Bergen explores this group of remarkable works in detail and considers the important role of Rasmus Meyer as a collector. The exhibition and publication include seminal paintings from Munch's early 'realist' phase of the 1880s, such as Morning (1884), which was made when the artist was just twenty years old, and Summer Night (1889), a pivotal work that shows the artist's move towards the expressive and psychologically charged work for which he became famous. These paintings launched Munch's career and set the stage for his renowned, highly expressive paintings of the 1890s when his compositions became powerful projections of his emotions and imaginative states. Such works are a major feature of the exhibition that includes remarkable canvases from Munch's famous 'Frieze of Life' series, such as Evening on Karl Johan (1892), Melancholy (1894-96) and At the Death Bed (1895). Through his 'Frieze of Life' works, Munch intended to address profound themes of human existence, from love to death. The artist used his own experiences as source material to make visceral depictions of the human psyche, which he hoped would help others understand their own life. Munch's powerful use of colour and form to convey his subjects marked him out as one of the most radical painters at the turn of the 20th century. This fully illustrated publication includes a catalogue of the works, with contributions by leading experts in their fi eld from KODE and The Courtauld.