Published to accompany Piano Nobile's exhibition of the same title, Cyril Mann: The Solid Shadow Paintings, is the first book to describe this vivid and art historically significant group of still-life paintings. As well as including a fully-illustrated catalogue of the exhibition, the book describes how Mann's solid shadow style emerged in the early nineteen-fifties. Though Mann spent the rest of his career painting natural light, the solid shadow paintings were made under the glow of an electric lightbulb. After moving into a lightless flat at Old Street, Mann's pictures began to course with unnatural, electric colour. For the first time, he noticed the line that joins together an object with the shadow it casts. He depicted this line in his paintings as if it were itself a solid object, laid on the table before him beside apples and Pelican paperbacks. Undertaken between 1951 and 1957, Mann's solid shadow paintings were a dazzling interjection in the subdued art world of fifties Britain. This was his most original period and it stands as his lasting contribution to the history of twentieth-century painting. These works have never been displayed together before and the accompanying exhibition to this catalogue will provide an insight into the artist's radiant formal language.

This Mini Sticky Book is a portable hardcover containing a full-colour sticky notepad for easy note and list-taking at home or on the road. durable, pocket-sized, hardcover book cardstock and fabric inside pocket for business cards, cash, receipts, stamps, etc. 130 full-colour illustrated note sheets book measures 127 x 89mm. We choose the best images from well-known classic and contemporary fine artists, plus talented emerging illustrators and designers from around the globe. Vincent van Gogh (1853-1890) had an artistic career lasting only ten years. However, in those years he left behind an astounding legacy of painting that has endured to this day. He was a mad genius and he poured that passion into the trembling energy of his paintings. His canvases are celebrations of humanity & earth, colour & texture.

This dazzling collection showcases the very best of the British Wildlife Photography Awards, presenting over 150 of the winning, commended and shortlisted images from the 2017 competition. Featuring a range of photography from world-leading professionals as well as inspired amateurs, it is a book that captures the magnificent diversity of the British Isles. British Wildiife Photography Awards is divided into the competition's fifteen categories, from Animal Portraits through to the Young People's Awards. Every photograph is beautifully reproduced in a large format, with detailed technical information alongside the photographer's personal account, to appeal to both photographers and natural historians.

Photography was invented between the publication of Adam Smith's The Wealth of Nations and Karl Marx and Frederick Engels's The Communist Manifesto. Taking the intertwined development of capitalism and the camera as their starting point, the essays in Capitalism and the Camera investigate the relationship between capitalist accumulation and the photographic image, and ask whether photography might allow us to refuse capitalism's violence-and if so, how? Drawn together in productive disagreement, the essays in this collection explore the relationship of photography to resource extraction and capital accumulation, from 1492 to the postcolonial; the camera's potential to make visible critical understandings of capitalist production and society, especially economies of class and desire; and propose ways that the camera and the image can be used to build cultural and political counterpublics from which a democratic struggle against capitalism might emerge. With essays by Ariella Aisha Azoulay, Siobhan Angus, Kajri Jain, Walter Benn Michaels, T. J. Clark, John Paul Ricco, Blake Stimson, Chris Stolarski, Tong Lam, and Jacob Emery.

The ancient Greeks perceived the human body as an object of sensory delight and its depiction as the expression of an intelligent mind. This sumptuous photographic book explores ancient Greek sculptures of the body from every angle. With an introduction outlining the use of the body in Greek art from the prehistoric simplicity of Cycladic figurines to the realism of the Hellenistic age, seven thematic sections then feature stunning photographs of close ups taken from the British Museum's outstanding collection of marble, bronze and terracotta sculpture. The gods and heroes of Greek religion and mythology are conceived in the image of mankind, as supermen and superwomen, while other supernatural beings such as centaurs and satyrs combine human with animal parts as symbols of their otherworldliness. Human shape is also given to the inanimate phenomena of nature, such as wind and moon, as well as intangible human experiences such as sleep and death. A salient feature of Greek art is human nudity, which was celebrated rather than considered shameful. The great majority of female nudes that have come down to us are representations of Aphrodite, goddess of erotic love. In the Hellenistic age, Alexander's conquest and Hellenisation of the people formerly included in the Persian empire created a new and cosmopolitan world. Greek artists were made more aware than ever before of the ethnic diversity of humanity and delighted in representing and classifying humankind in all its variety young and old, fat and thin, beautiful and ugly, freeborn and slave, pauper and wealthy, able and disabled, moral and immoral. The Hellenistic period, more than any previous, was also truly an age of portraiture, reflected love in compelling and unusual images.

God. Beauty. Art. Theology. Editors Mark Husbands, Roger Lundin and Daniel J. Treier present ten essays from the 2006 Wheaton Theology Conference that explore a Christian approach to beauty and the arts. Theology has much to contribute in providing a place for the arts in the Christian life, and the arts have much to contribute to the quality of Christian life, worship and witness. The 2006 Wheaton Theology Conference explored a wide-ranging Christian approach to divine beauty and the earthly arts. Written and illustrated by artists and theologians, these essays illuminate for us the Christian significance of the visual arts, music and literature, as well as sounding forth the theological meaning and place of the arts in a fallen world--fallen, yet redeemed by Christ. Here is a veritable feast for pastors, artists, theologians and students eager to consider the profound but not necessarily obvious connection between Christianity and the arts.

Christmas is the celebration of the birth of Jesus of Nazareth, the Messiah, over two thousand years ago. This event is so important that the world calculates the time of all other events based on it. But centuries before Jesus was born, the prophets of the Old Testament in the Bible spoke of his coming. In the centuries before Jesus' birth, belief in the coming of the Messiah was widely held, and these prophecies were fulfilled in the birth of Jesus Christ in Bethlehem. Too often today the true story of Jesus' birth gets lost in the frantic Christmas sales messages that start earlier each year. "The Christmas Prophecies" was created to bring back some of the wonder that has been at the core of Christmas since its beginning. The story is told in verses quoted from the King James Bible (Authorized Version, 1769) with a modern text accompanying it and a glossary of terms that may be unfamiliar to modern readers. It is illustrated with classic paintings of the events by Raphael, Rembrandt, Del Sarto, Tintoretto, Bouguereau and many others, and case bound with full-color laminated covers.

Both an exploration of the ways in which we fashion our public identity and a manual of modern sociability, this lively and readable book explores the techniques we use to present ourselves to the world: body language, tone of voice, manners, demeanor, "personality" and personal style. Drawing on historical commentators from Castiglione to Machiavelli, and from Marcel Mauss to Roland Barthes, Joanne Finkelstein also looks to popular visual culture, including Hollywood film and makeover TV, to show how it provides blueprints for the successful construction of "persona." Finkelstein's interest here is not in the veracity of the self - recently dissected by critical theory - but rather in the ways in which we style this "self," in the enduring appeal of the "new you" and in our fascination with deception, fraudulent personalities and impostors. She also discusses the role of fashion and of status symbols and how advertising sells these to us in our never ending quest for social mobility.