Text in English & German. Sean McCall lives and works in Los Angeles. A professional fashion and advertising photographer looks back at a career spanning three decades in the industry. His work has appeared in numerous magazines, including Allure, Bazaar, Glamour, GQ, Mademoiselle, Sunset, Vogue and several books. He has worked together with fashion designers Gaultier, Dior, Tommy Hilfiger and Hudson. Many sports stars and screen legends have posed for him, including Ali McGraw, Angelina Jolie, Art Link Etter, Bo Derek, Caprice Bourret, Charlton Heston, Chris Farley, Dita Von Teese, Erwin "Magic" Johnson, Gary Busey, James Coburn, Muhammed Ali, Steve Guttenberg and Tommy Chong. Like many photographers, McCall has an impressive back catalogue; there are enough erotic photos of Dita Von Teese, among others, to fill an entire library. Together with the artist, we perused the archive and made a selection we have called "LA Nudes Confidential". It gives insight into some "hot" photo sessions.

Simon Schama brings Britain to life through its portraits, as seen in the five-part BBC series The Face of Britain and the major National Portrait Gallery exhibition Churchill and his painter locked in a struggle of stares and glares; Gainsborough watching his daughters run after a butterfly; a black Othello in the nineteenth century; the poet-artist Rossetti trying to capture on canvas what he couldn't possess in life; a surgeon-artist making studies of wounded faces brought in from the Battle of the Somme; a naked John Lennon five hours before his death. In the age of the hasty glance and the selfie, Simon Schama has written a tour de force about the long exchange of looks from which British portraits have been made over the centuries: images of the modest and the mighty; of friends and lovers; heroes and working people. Each of them - the image-maker, the subject, and the rest of us who get to look at them - are brought unforgettably to life. Together they build into a collective picture of Britain, our past and our present, a look into the mirror of our identity at a moment when we are wondering just who we are. Combining his two great passions, British history and art history, for the first time, Schama's extraordinary storytelling reveals the truth behind the nation's most famous portrayals of power, love, fame, the self, and the people. Mesmerising in its breadth and its panache, and beautifully illustrated, with more than 150 images from the National Portrait Gallery, The Face of Britain will change the way we see our past - and ourselves.

For much of early modern history, the opportunity to be immortalized in a portrait was explicitly tied to social class: only landed elite and royalty had the money and power to commission such an endeavor. But in the second half of the 16th century, access began to widen to the urban middle class, including merchants, lawyers, physicians, clergy, writers, and musicians. As portraiture proliferated in English cities and towns, the middle class gained social visibility-not just for themselves as individuals, but for their entire class or industry. In Citizen Portrait, Tarnya Cooper examines the patronage and production of portraits in Tudor and Jacobean England, focusing on the motivations of those who chose to be painted and the impact of the resulting images. Highlighting the opposing, yet common, themes of piety and self-promotion, Cooper has revealed a fresh area of interest for scholars of early modern British art. Published for the Paul Mellon Centre for Studies in British Art

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.

The great pin-up illustrators of the '30s through the '60s have inspired a whole new generation of digital photographers. Replacing the artist's palette with myriad photo editing tools, the modern photographer has kept the pin-up tradition alive. This book is a visual delight with more than 300 photos from 25 photographers nationwide. The vintage images from cheesecake pin-up to Hollywood glamour will surely take you back in time, as will classic military nose art and authentic WWII bomber jackets. The pin-up models were photographed in the most scenic locations in the United States.

This volume considers pictured and picturing women in Renaissance and Baroque Italy as the subjects, creators, patrons, and viewers of art. Women's experiences and needs (perceived by women themselves or defined by men on their behalf) are seen as important determinants in the production and consumption of visual culture. By using a variety of approaches the contributors demonstrate the importance of adopting an interdisciplinary approach when studying women in Italy from the fourteenth to the seventeenth centuries.

What is a woman? What is a man? How do they--and how should they--relate to each other? Does our yearning for "wholeness" refer to something real, and if there is a Whole, what is it, and why do we feel so estranged from it? For centuries now, art and literature have increasingly valorized uniqueness and self-sufficiency. The theoreticians who loom so large within contemporary thought also privilege difference over similarity. Silverman reminds us that this is but half the story, and a dangerous half at that, for if we are all individuals, we are doomed to be rivals and enemies. A much older story, one that prevailed through the early modern era, held that likeness or resemblance was what organized the universe, and that everything emerges out of the same flesh. Silverman shows that analogy, so discredited by much of twentieth-century thought, offers a much more promising view of human relations. In the West, the emblematic story of turning away is that of Orpheus and Eurydice, and the heroes of Silverman's sweeping new reading of nineteenth- and twentieth-century culture, the modern heirs to the old, analogical view of the world, also gravitate to this myth. They embrace the correspondences that bind Orpheus to Eurydice and acknowledge their kinship with others past and present. The first half of this book assembles a cast of characters not usually brought together: Friedrich Nietzsche, Sigmund Freud, Marcel Proust, Lou-Andreas Salome, Romain Rolland, Rainer Maria Rilke, Wilhelm Jensen, and Paula Modersohn-Becker. The second half is devoted to three contemporary artists, whose works we see in a moving new light: Terrence Malick, James Coleman, and Gerhard Richter.

Though portraits of old women mediate cultural preoccupations just as effectively as those of younger women, the scant published research on images of older women belies their significance within early modern Italy. This study examines the remarkable flowering, largely overlooked in portraiture scholarship to date, of portraits of old women in Northern Italy and especially Bologna during the second half of the sixteenth century, when, as a result of religious reform, the lives of women and the family came under increasing scrutiny. Old Women and Art in the Early Modern Italian Domestic Interior draws on a wide range of primary visual sources, including portraits, religious images, architectural views, prints and drawings, as well as extant palazzi and case, furnishings, and domestic objects created by the leading artists in Bologna, including Lavinia Fontana, Bartolomeo Passerotti, Denys Calvaert, and the Carracci. The study also draws on an array of historical sources - including sixteenth-century theories of portraiture, prescriptive writings on women and the family, philosophical and practical treatises on the home economy, sumptuary legislation, books of secrets, prescriptive writings on old age, and household inventories - to provide new historical perspectives on the domestic life of the propertied classes in Bologna during the period. Author Erin Campbell contends that these images of unidentified women are not only crucial to our understanding of the cultural operations of art within the early modern world, but also, by working from the margins to revise the center, provide an opportunity to present new conceptual frameworks and question our assumptions about old age, portraiture, and the domestic interior.