The first biography of Anne Damer since 1908, The Life of Anne Damer: Portrait of a Regency Artist, by Jonathan Gross, draws on Damer s notebooks and previously unpublished letters to explore the life and legacy of England s first significant female sculptor. Best known for her portraits of dogs and other animals, Damer also created busts of England s most important political heroes, sometimes within days or hours of their historical accomplishments. This in-depth biography traces her life during the American Revolution, the French Revolution, the Peace of Amiens and the Hundred Days. Damer was convinced that art could have significant political influence, sending her bust of Nelson to the King of Tanjore to encourage trade with India. Her art stands at the transition between neoclassicism and romanticism and provides a wealth of insight into 19th century British sculpture. In the last twenty years, there has been a strong revival of interest in Damer s life, particularly in gay and lesbian studies due to her famous relationship with author Mary Berry. This text serves as a deeper investigation of this fascinating and important figure of British art history. The emotional menage a trois of Anne Damer, Mary Berry, and Horace Walpole forms the heart of this new biography. Gross contends that all three individuals, had they led more conventional lives, would never have given the world the literary and artistic gifts they bestowed in the form of Strawberry Hill, Belmour, and Fashionable Friends. The struggles they faced will encourage modern readers to appreciate anew the fluidity of sexual identity and passionate friendship, as well as the restraints put in place by society to control them. Anne Damer s life has much to teach a new generation concerned with the complex relationship between love, art, and politics. The Life of Anne Damer will interest historians of Georgian England, and readers in the fine arts, literature, and history.

Barbara Earl Thomas's new body of work carries within it the sediments of history and grapples with race and the color line. At the heart of it lies a story of life and death, hope and resilience-a child's survival. With her quietly glowing portraits of young Black boys and girls, Thomas puts before us the humble question: can we see, and be present to, the humanity, the trust, the hopes and dreams of each of these children? The Geography of Innocence offers a reexamination of Black portraiture and the preconceived dichotomies of innocence and guilt and sin and redemption, and the ways in which these notions are assigned and distorted along cultural and racial lines. Two interconnected visual arguments unfold: a portrait gallery of children from the artist's extended community and an illuminated environment that appears like a delicate paper lantern. To accompany the visual elements, the book's essays examine Thomas's work in the context of different art historical portraiture traditions and political relevance. Thomas also contributes an interview and an essay reflecting on the current climate in which the work exists.

Louis Comfort Tiffany was highly skilled in jewellery design, ceramics, enamels, and metalwork but he is best known for his beautiful stained-glass designs. Using opalescent glass in a variety of colours and textures, he created a stunning range of jewel-like Art Nouveau works that influenced much of American modern art. This sumptuous new book features page after page of astounding work, showing Tiffany's skill as a colourist and a craftsman, with works that still inspire artists and audiences today.

John James Audubon is arguably America's most widely recognized and collected artist. His Birds of America has been reproduced often, beginning with the double elephant folio printed by Havill in England, followed by a much smaller "Octavo" edition printed in Philadelphia and sold by subscription. After Audubon's death, his family arranged with the New York printer Julius Bien to produce another elephant folio edition, this time by the new chromolithographic process. It too would be sold by subscription, but the venture, begun in 1858, was brought to an abrupt end by the Civil War. Only 150 plates were produced, and the number remaining today is slight; they are among the rarest and most sought after Audubon prints. Bound in cloth with a full cloth slipcase, this beautifully produced book is the first complete reproduction of Bien chromolithographs and will become the centerpiece of any bird lover's library.

The sixteen studies in this book include six specially translated from Greek and another two published here for the first time. They deal with the art of painting in Crete at a time when the island was under Venetian rule. The main emphasis is on the 15th century and especially on the painter Angelos. More than thirty icons with his signature survive, and at least twenty more can be reliably attributed to him. Angelos was the most significant artist of a particularly significant era. It was at this time that the centre of artistic production migrated from Constantinople, the capital of the Byzantine Empire to Candia, the capital of Venetian-occupied Crete. These studies try to reconstruct the personality of this late Byzantine painter, Angelos, not only through his icons but also through his will (1436), now in the State Archives in Venice. In this context they also explore the status of the Cretan painter in society. The large number of extant Cretan icons clearly indicates the striking increase in production from the 15th century onwards. Similarly, archival documents are used to examine the trade of icons in Crete and the way Cretan artists had to organize their workshops in order to meet the requirements of the market.

Taking Freud's seminal essay A Childhood Memory of Leonardo da Vinci as his starting point and opposite, Hubert Damisch uses the preposition 'by' instead of 'of' in the title of his book to indicate that he is searching for a way of doing psychoanalysis with art that does not amount to psychobiography. The book is in some respects a parody of Freud's work on art. The return to Freud was necessary because work in psychoanalysis and art has not solved the problem of what is being analyzed. Damisch studies Piero della Francesca's painting Madonna del Parto as a construction by the artist of what viewers throughout history may have pursued on the basis of their unconscious fantasies involving what Freud considered the most characteristic question of human beings: where do children come from, and how did they get there?

An authoritative introduction to one of the most influential painters in the history of art, written by the pre-eminent authority on the subject and informed by the latest research. More versatile and less idiosyncratic than Michelangelo, more prolific and accessible than his mentor Leonardo da Vinci, Raphael, though he died at only thirty-seven, is considered the single most influential artist of the Renaissance. Here, art historian Paul Joannides explores the different social and regional contexts of Raphael's work and discusses all aspects of his artistic output. He traces Raphael's career from his origins in Urbino, through his altarpieces made in Umbria in the shadow of Perugino, to the first flowering of his genius in Florence where he painted a series of iconic Madonnas that are among the most beloved images in Western art. Raphael's employment by the dynamic and demanding Pope Julius II gave him opportunities without parallel and encouraged the full expansion of his genius. As a sophisticate entrepreneur, he dominated Rome's artistic life and extended the range of his activities to that of architect, designer, pioneer archaeologist and theoretician. The foundation of Raphael's versatility and range was his supreme clarity of mind as a draughtsman. Knowledge of his drawings, on which Joannides is a leading expert, is central to understanding of his achievement, and they are thoroughly explored here.

I think that if you're an editor, and you do what's right, you occasionally have to say 'no' to people. To the good people, the professionals, that's fine. But the people who are 'hacks,' they won't like that."" As an American comic book writer, editor, and businessman, Jim Shooter (b. 1951) remains among the most important figures in the history of the medium. Starting in 1966 at the age of fourteen, Shooter, as the young protege of verbally abusive DC editor Mort Weisinger, helped introduce themes and character development more commonly associated with DC competitor Marvel Comics. Shooter created several characters for the Legion of Super-Heroes, introduced Superman's villain the Parasite, and jointly devised the first race between the Flash and Superman. When he later ascended to editor-in-chief at Marvel Comics, the company, indeed the medium as a whole, was moribund. Yet by the time Shooter left the company a mere decade later, the industry had again achieved considerable commercial viability, with Marvel dominating the market. Shooter enjoyed many successes during his tenure, such as Chris Claremont and John Byrne's run on the Uncanny X-Men, Byrne's work on the Fantastic Four, Frank Miller's Daredevil stories, Walt Simonson's crafting of Norse mythology in Thor, and Roger Stern's runs on Avengers and The Amazing Spider-Man, as well as his own successes writing Secret Wars and Secret Wars II. After a rift at Marvel, Shooter then helped lead Valiant Comics into one of the most iconic comic book companies of the 1990s, before moving to start-up companies Defiant and Broadway Comics. Interviews collected in this book span Shooter's career. Included here is a 1969 interview that shows a restless teenager; the 1973 interview that returned Shooter to comics; a discussion from 1980 during his pinnacle at Marvel; and two conversations from his time at Valiant and Defiant Comics. At the close, an extensive, original interview encompasses Shooter's full career.

More popular than ever, the work of Eric Ravilious (1903-42) is rooted in the landscape of pre-war and early wartime England. This best-selling book by Alan Powers, the established authority on Ravilious, provides the most comprehensive overview to date of the artist's work in all media - watercolour, illustration, printmaking, graphic design, textiles and ceramics - and firmly positions Ravilious as a major figure in the history of early 20th-century British art. Now available in paperback, the accessible and engaging text, copiously illustrated with reproductions of work drawn from a range of sources, discusses the part Ravilious' work played in creating an English style, positioned between tradition and modernism, and borrowing from naive and popular art of the past. The book analyses Ravilious' different spheres of activity in turn, covering his education and formative influences, his mural painting, his printmaking and illustration, his work as leader in forming a new style of watercolour painting between the wars and his final period as an official War Artist. In a career curtailed by an early death, Ravilious also played a significant role as a designer; Powers argues that Ravilious showed how decoration and historical reference could find a place in the reform of the applied arts whilst simultaneously renewing a sense of national identity. Eric Ravilious will be welcomed by all those with an interest in an artist whose imagination was backed by great skill and a sharp eye for the unusual.

Straddling the worlds of fine art, street art and hip-hop, name-dropped on many a rap song, and collected by the likes of Jay-Z and LeBron James, Hebru is a painter, sculptor and designer. He first gained attention as a graffiti artist, tagging walls with colourful depictions of Flyboy a child donning aviator goggles all over the Windy City. Fast-forward to 2021 and his creations, profoundly influenced by Disney and Japanese Super-Flat, are now in museums, as well as in branded goods for A Bathing Ape, Billionaire Boys Club, Adidas Originals, KITH, Neighborhood and a host of other sought-after labels. At the heart of Hebru s work is restoring innocence to the depiction of black youth, often forced into adulthood before their time in the eyes of the law and popular media. Upbeat and life-affirming, Brantley s work not only attempts to normalize images of black children at play, but in his creation of black superheroes, even suggests an entirely new mythology in a cultural landscape often devoid of positive examples. This book will feature the breadth of Hebru s work so far, and is the first monograph on his work. Set out in two parts, this work will examine both the fine art and applied art nature of his work, with both his paintings and his streetwear collaborations receiving pride of place in the design of the book by prominent graphic designer Oliver Munday, currently the art director of The Atlantic Monthly.

The modern interior design movement was well underway when artists Erwine and Edwina Laverne started their modest printed textiles and wallpaper business in New York City. By 1944 they had invented Marbelia wallcoverings and went on to develop the award-winning textile designs and the iconic 1960s clear plastic Lily and Lotus chair designs that made them famous. This is the documentary of their success, illustrated with 400 color photos, original catalog pages, and advertising pictures. Careful research and many personal dealings with Erwine Laverne gave the author first-hand knowledge of the company and its development. Graphic designers, vintage collectors, and interiors specialists all will find the story and illustrations fascinating and inspiring.

Swiss critic Johann Georg Sulzer's Dialogues on the Beauty of Nature (1750) and Reflections on Certain Topics of Natural History (1745) are exemplary specimens of eighteenth-century European theology, philosophy, natural history, and aesthetics. Sulzer's contemporaries-notably Goethe-read him with attention. Eric Miller's elegant translation comes with a vivid, informative, and strongly contextualizing introduction. Sulzer's early works are a curio cabinet of the philosophical and theological arguments that exercised and enticed the intelligentsia of his period. These topics and arguments have by no means forfeited pertinence today.

William Daley's geometric ceramic vessels explore the synthesis between interior and exterior, volume and surface, form and symbol. Their unglazed surfaces echo architectural spaces and rhythms. Daley is an innovative artist-educator who helped revolutionize arts education post World War II. Success in his explorations led to many commissions for large-scale public and private screens and sculptures, executed in both bronze and ceramics. This retrospective of the ceramic art of William Daley spans two centuries, from the 1950s through the early 2000s. The text includes an essay by Ruth Fine, Curator of Special Projects for Washington's National Gallery of Art and a foreword by Daley's gallery representative Helen Drutt English. Over 300 brilliant images reveal the ceramic vessels Daley has created, including commissioned work. Also included in the text are William Daley's essays and articles on transforming mud to fired stoneware, his use of "sacred geometry," descriptions of his process in building pots and sculptural commissions, as well as his thoughts on teaching.

Explore the life and art of legendary Navajo silversmith Fred Peshlakai, and see how his masterful art began and evolved. Beginning with the history of the Navajo people, it follows world events impacting the American Southwest and the Navajo culture precipitating in the development of their unique expressions of art rendered with silver and stone. Nineteenth-century evolution of the art form is reviewed, shining a particular light on certain ambiguities regarding important interrelationships between its most famous figures. Fred Peshlakai hailed from one of the most recognized artistic bloodlines of his noble people. This book is the beginning catalogue of his beautiful silver artwork with hundreds of images and their individual technical and artistic expressions discussed. No longer mythical, Fred Peshlakai is shown to be one of the most, if not the most, influential Navajo artisan to impact the creation of Navajo Silver Art and his art the world-class art treasures that they truly are.

This book explores the interaction between collectors, dealers and exhibitions in Pablo Picassos entire career. The former two often played a determining role in which artworks were included in expositions as well as their availability and value in the art market. The term collector/dealer must often be used in combination since the distinction between both is often unclear; Heinz Berggruen, for instance, identified himself primarily as a collector, although he also sold quite a few Picassos through his Paris gallery. On the whole, however, dealers bought more often than collectors; and they bought works by artists they were already involved with. While some dealers were above all professional gallery owners; most were mainly collectors who sporadically sold items from their collection. Picassos first known dealer was Pere Manyach, whom he met as he travelled to Paris in 1900 when he was only 19 years old. As his representative, Manyach went about setting up exhibitions of his works at galleries in the French capital, such as Bethe Weills and Ambroise Vollards. Picassos first major exhibition took place in 1901 at Vollards. Daniel-Henry Kahnweiler and Leonce Rosenberg came in after Vollard lost interest during the Cubist period, as they had a manifest preference for the new style. Like Vollard, later dealers often preferred the more conventional Neoclassical phase in Picasso. This was the case with Leonces brother, Paul Rosenberg. The book is organized chronologically and discusses the interaction between Picassos collectors, dealers and exhibitions as they take place. Once collectors acquired an artwork, their willingness to lend them to exhibitions or their necessity to submit them to auction had a direct impact on Picassos prominence in the art world.

A FLAME TREE NOTEBOOK. Beautiful and luxurious the journals combine high-quality production with magnificent art. Perfect as a gift, and an essential personal choice for writers, notetakers, travellers, students, poets and diarists. Features a wide range of well-known and modern artists, with new artworks published throughout the year. BEAUTIFULLY DESIGNED. The highly crafted covers are printed on foil paper, embossed then foil stamped, complemented by the luxury binding and rose red end-papers. The covers are created by our artists and designers who spend many hours transforming original artwork into gorgeous 3d masterpieces that feel good in the hand and look wonderful on a desk or table. PRACTICAL, EASY TO USE. Flame Tree Notebooks come with practical features too: a pocket at the back for scraps and receipts; two ribbon markers to help keep track of more than just a to-do list; robust ivory text paper, printed with lines; and when you need to collect other notes or scraps of paper the magnetic side flap keeps everything neat and tidy. THE ARTIST. The Kiss is a prime example of Klimt's 'Golden Phase', in which he began to feature especially sumptuous ornamentation on a regular basis in his paintings. The couple in this artwork represent the mystical union of spiritual and erotic love, and the connection of life and the universe. THE FINAL WORD. As William Morris said, "Have nothing in your houses that you do not know to be useful, or believe to be beautiful."

An updated edition of this classic survey, a thorough overview of Paul Cezanne's life and work. For Picasso he was 'like our father'; for Matisse, 'a god of painting'. Paul Cezanne (1839-1906) is widely regarded as the father of modern art. In this authoritative and accessible study, Richard Verdi traces the evolution of Cezanne's landscape, still-life and figure compositions, from the turbulently romantic creations of his youth to the visionary masterpieces of his final years. The painter's biography - his fluctuating reputation and strained relations with his parents, wife and close friend Emile Zola - is vividly evoked using excerpts from his own letters and from contemporary accounts of the artist. Cezanne was torn between the desires to create art and to seek inspiration - to master the themes of the past, through his copying sessions in the Louvre, and to explore the eternal qualities of nature in the countryside of his native Provence. In this way the artist sought 'to make of Impressionism something solid and durable, like the art of the museums'. In this richly illustrated overview Verdi explores the strength, vitality and magnitude of Cezanne's achievement.