Raphael (1483-1520) was for centuries considered the greatest artist who ever lived. Much of what we know about him comes from this biography, written by the Florentine painter Giorgio Vasari and first published in 1550. Vasari's Lives of the Painters was the first attempt to write a systematic history of Italian art. The Life of Raphael is a key text not only for the appreciation of Raphael's own art - whose development and chronology Vasari describes in detail, together with the spectacular social career of the first painter to be mooted, it was claimed, as a Cardinal - but also for its unprecedented attention to theoretical issues.

In this fully revised and richly illustrated edition, author and journalist Will Ellsworth-Jones pieces together a complete picture of the life and work of Banksy, perhaps the most iconic, enigmatic and controversial artist of modern times. For someone who shuns the limelight so completely that he conceals his name, never shows his face and gives interviews only by email, Banksy is remarkably famous. This fully updated and illustrated story of Banksy's life and career builds an intriguing picture of his world and unpicks its contradictions. Whether art or vandalism, anti-establishment or sell-out, Banksy and his work have become a cultural phenomenon and the question 'Who is Banksy?' is as much about his career as it is 'the man behind the wall'. From his beginnings as a Bristol graffiti artist, his artwork is now sold at auction for seven-figure sums and hangs on celebrities' walls. The appearance of a new Banksy is national news, his documentary Exit Through the Gift Shop was Oscar-nominated and people queue for hours to see his latest exhibition. Now moreNational Treasure than edgy outsider, who is Banksy and how did he become what he is today? This book charts Banksy's journey from the graffiti-scrawled streets of Barton Hill, the working class neighbourhood of Bristol where he and others covered the walls with vibrant pieces while trying to avoid the police, through to some of the most prestigious galleries of the world, where his daring acts of guerilla art have forced us to reconsider how we define as art. From the artist's own words to recollections of friends and colleagues, this book also examines the contradictions of Banksy's life: charting how a privately educated boy from a middle class area of Bristol reinvented himself as a rogue and an outlaw who would take the art world by storm. With beautiful reproductions of some of his most controversial and recognisable works, this detailed study is a truly indispensible guide to understanding the ultimate art rebel whose work is no less relevant today than it was when he first started out some thirty years ago.

Edward Hopper (1882-1967) is something of an American success story, if only his success had come swifter. At the age of 40, he was a failing artist who struggled to sell a single painting. As he approached 80, Time magazine featured him on its cover. Today, half a century after his death, Hopper is considered a giant of modern expression, with an uncanny, unforgettable, and utterly distinct sense for mood and place. Much of Hopper's work excavates modern city experience. In canvas after canvas, he depicts diners, cafes, shopfronts, street lights, gas stations, rail stations, and hotel rooms. The scenes are marked by vivid color juxtapositions and stark, theatrical lighting, as well as by harshly contoured figures, who appear at once part of, and alien to, their surroundings. The ambiance throughout his repertoire is of an eerie disquiet, alienation, loneliness and psychological tension, although his rural or coastal scenes can offer a counterpoint of tranquility or optimism. This book presents key works from Hopper's oeuvre to introduce a key player not only in American art history but also in the American psyche. About the series Born back in 1985, the Basic Art Series has evolved into the best-selling art book collection ever published. Each book in TASCHEN's Basic Art series features: a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance a concise biography approximately 100 illustrations with explanatory captions

Creative Infrastructures is a new collection of connected essays that examines the relationships between art, innovation, entrepreneurship and money. Essig uses her extensive knowledge of the field of arts entrepreneurship and puts it to broader practical use and greater impact by offering a theory for arts entrepreneurship that places more emphasis on means over ends. Essig uses illustrative case studies to show how her theoretical framework explains a number of innovative efforts in culturally and racially diverse communities. The Ouroboros, the serpent eating its own tail, is a visual metaphor deployed by Essig in the opening essay to shift commonly held perspectives on, especially, the relationship between art and money. Art is the head; money is the tail, feeding and nourishing the head in a cycle that enables the organism to not only survive but also thrive. Between the art and the money is the body: innovation and entrepreneurship. Innovation is understood to be a novel idea that is implemented and has impact on a domain. For that is what the artist does: create something new and unique that has impact. Entrepreneurship is conceived of as the discovery or creation of a mediating structure that can convert the artistic innovation into capital (financial and other types) that can be re-invested in the artist and the making of more art. This book endeavours to untie the knotty relationships between artists and entrepreneurship in order to answer the question 'How can artists make work and thrive in our late-capitalist society?' Other essays in the collection consider a range of topics including how aesthetic and cultural value are transmitted from the artist to the audience; the complexity of the tension between what art fundamentally is and the reproduction of that work and the recent foregrounding of the idea that art can produce positive social change - through current and late-twentieth-century trends in 'social impact art' or 'art for change'. As in sports, business and other sectors, the star artists, the top 1 per cent, have disproportionately influenced the public expectations for what 'a successful artist' means. It isn't necessary to retell the stories of the one per cent of arts entrepreneurs; instead Essig looks instead at the quotidian artist, at what they do and why, not what they make. All too often, artists who are attentive to the 'business' of their creative practice are accused of 'selling out'. But for many working artists, that attention to business is what enables an artist to not just survive, but to thrive. When artists follow their mission, Essig contends that they don't sell out, they spiral up by keeping mission at the forefront. The closing essay is a work of speculative fiction, based in all that comes before, both in the preceding essays and in Essig's work as an artist, arts advocate and scholar of cultural policy. Returning to the symbol of the Ouroboros, it connects the head (art) to the tail (not money specifically, but resources), and back again. It is a 'future imaginary', in which she profiles three fictional artists in the year 2050. The field of arts entrepreneurship is growing - thanks in large part to the work of Linda Essig. The case studies in the book are US-based, but the issues addressed are universal. This book is ideal for use in training programmes for arts administrators and advocates; policy analysts and business schools that are looking to add in arts programmes. It will be of great interest and significance to people working in the cultural industries in the United Kingdom and Europe, especially Germany, where there has also been some recent research interest on similar topics. It is also relevant to the many artists who participate in training and professional development programmes in their community, as well as those who are just starting out.

This new and fully re-designed edition of the now-classic book marks the tenth anniversary of Bhajju Shyam's momentous journey to London, U.K. Bhajju Shyam, a celebrated and award-winning artist from the Gond tribe in central India, was commissioned to paint the walls of an Indian restaurant in London. He spent two months in the city, and it was the first time he encountered a western metropolis. The book that emerged from his journey is a visual travelogue that both mimics and subverts the typical colonial encounter. With radical innocence and great sophistication, Bhajju brings the signs of the Gond forest to bear on the city, turning London into an exotic jungle, a clever beastiary. The London Underground becomes a sinuous snake, Big Ben transforms into a rooster crowing the time, and an airplane -- the first Bhajju ever encountered -- is compared to an elephant miraculously flying through the air. It is rare to encounter a truly original vision that is capable of startling us into reexamining familiar sights. By breathing the ancient spirit of wonder back into the act of travel, "The London Jungle Book" does just that.

Including more than 200 examples of both popular and lesser known works from private collections, this book captures all periods of Klee's oeuvre, representing each stylistic metamorphosis and painting technique used by the artist. The "Klee universe" opens up profoundly in all its depth.

By turns hilarious, satirical, and brilliant, David Shrigley's full-page illustrations a combination of drawing, comics, photography, and sculpture are sui generis: uproariously funny, pleasantly unnerving, and, most of all, really, really cool. Neither "graphic novel" nor "art book," What the Hell Are You Doing? celebrates the surreal world of the artist who created Ants Have Sex in Your Beer and To Make the Meringue You Must Beat the Egg Whites Until They Look Like This the man Dave Eggers calls "probably the funniest gallery-type artist who ever lived."

ANDY GOLDSWORTHY: TOUCHING NATURE

A new and revised edition of our best-selling book on Andy Goldsworthy. A completely rewritten exploration of the sculptor, updated to include recent works such as Night Path (2002) and Chalk Stones (2003) in Sussex, Three Cairns (2002) on the American East and West coasts, Stone Houses (2004) and Garden of Stones (2003) in Gotham, Passage (2005) in London, and Slate Domes (2005) in Washington, DC.

Known as a 'land', 'earth', 'nature' or 'environmental' artist, Andy Goldsworthy works with(in) nature. He uses natural materials in natural shapes and forms often set in natural contexts (but also in cities, towns, parks, sculpture parks, and many spaces created or adapted by people). FROM THE INTRODUCTION

In the 1990s, Andy Goldsworthy's art began to rise in popularity: the glossy coffee table book Stone became a bestseller (bear in mind it was then priced at $55). In 1994 Goldsworthy took over some West End galleries with a large one-man show. In 1995 he was part of an intriguing group show at the British Museum (Time Machine), creating sculptures, along with Richard Deacon, Peter Randall-Page and others, in amongst the monumental statuary of the famous Egyptian Hall. Also in 1995, Goldsworthy designed a set of Royal Mail stamps (and again in 2003). Digne in France became an increasingly important Goldsworthy location, with shows in 1995, 1997 and 2000). Prestigious commissions occurred in the US from the mid-1990s onwards. For instance: the giant Wall at Storm King Art Center in 1998; the Three Cairns on the East and West Coasts and Iowa in 2001-02; the 'stone houses' at the Metropolitan Museum in Gotham in 2004; the monument to the Holocaust (also in New York) in 2003; and the slate domes in Washington, DC in 2005. Goldsworthy continues to work in countries such as Japan, Australia, Holland, Canada, North America and France (with France and the US becoming primary centres of Goldsworthy activity), but his home ground of Dumfriesshire in Scotland remains (at) the heart of his work.

AUTHOR BIOGRAPHY

William Malpas has written books on Richard Long and land art, as well as three books on Andy Goldsworthy, including Andy Goldsworthy In America. Malpas's books on Richard Long and Andy Goldsworthy are the only full-length studies of these artists available.

Fully illustrated, with a revised text. Bibliography and notes. 312pp. ISBN 9781861714138. www.crmoon.com

No single living artist has created as many myths, rumors and legends as Banksy. In his home town of Bristol almost everyone seems to have a Banksy story. Many of the tales in this book are from Bristol and some are from further afield. What they share is that they are all told with the wide-eyed wonder which Banksy inspires. Compiled between 2009 and 2011, some of these stories are quite old and have been told so many times they have become the stuff of legend, while others are more questionable and best described as myths.

Some are laugh out loud bollocks and some are simply gossip. You be the judge. These stories illustrate the incredible audacity, originality and sheer bloody mindedness of Banksy, who obviously will be best remembered for his art and exposing the hypocrisy and idiocy of our modern lives. The myths will be viewed as a distraction to some or part of the appeal for others. One thing is certain, the art and the myths are both larger than life.

This is an examination of the paintings, books, poetry and theoretical work of Russian avant-garde artist, Olga Rozanova. The text assesses Rozanova's life and work, aiming to recreate the spirit of the counterculture milieu that contributed to the transformation of 20th-century art.

Born in Mexico in 1907, Frida Kahlo learned about suffering at an early age. She fell victim to polio at the age of six, and was then seriously hurt in a bus accident at eighteen, resulting in injuries that affected her for the rest of her life. The young and indomitable Frida met Diego Rivera, the great mural painter, when Mexico was at a great cultural and political crossroads. They formed a legendary partnership, with a strong attachment to Mexican folk art, a deep commitment to the Communist struggle and a raging artistic ambition that survived all the trials of their marriage. Admired by the Surrealists and photographed by the greatest, Frida was most renowned for her self-portraits and unusual still lifes. This book traces the extraordinary life of this artist whose unforgettable imagery combined cruelty and wit, honesty and insolence, pain and empowerment.

Routledge is now re-issuing this prestigious series of 204 volumes originally published between 1910 and 1965. The titles include works by key figures such asC.G. Jung, Sigmund Freud, Jean Piaget, Otto Rank, James Hillman, Erich Fromm, Karen Horney and Susan Isaacs. Each volume is available on its own, as part of a themed mini-set, or as part of a specially-priced 204-volume set. A brochure listing each title in the "International Library of Psychology" series is available upon request.
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Robert Capa is one of four new titles published this September in Thames & Hudson's acclaimed 'Photofile' series. Each book brings together the best work of the world's greatest photographers in an attractive format and at an easily affordable price. Hailed by The Times as 'finely produced', the books are printed to the highest standards. Each one contains some sixty full-page reproductions, together with a critical introduction and a full bibliography.

Christopher White explains why he chose this title for his new book: 'The often intimate, reflective and personal side to Rembrandt's work in treating subjects from history or the Bible reveals an increasingly more introspective interpretation than his contemporaries.' Rembrandt's sharp eye draws inspiration from the domestic scene, the local street and wherever he went. His subjects include: children, beggars, musicians, dogs, pigs, horses; even elephants and lions. White studies Rembrandt's technique from an aesthetic rather than a scientific point of view; his willingness to experiment whether drawing, painting or etching is a notable feature of his work, and by discussing examples of the three different media side by side, the author demonstrates their interdependence.

Gary Hill is one of the most influential contemporary artists to investigate the myriad relationships between words and electronic images. His inquiries into linguistics and consciousness offer resonant philosophical and poetic insights, as he explores the formal conjunctions of electronic visual and audio elements with the body and the self. With experimental rigor, conceptual precision and imaginative leaps of discovery, Hill's work in video is about, and is, a new form of writing. In this substantial volume, George Quasha and Charles Stein analyze the artist's entire career, paying particular attention to the single-channel video works. Covering Hill's oeuvre, this highly readable monograph features a comprehensive chronology of his work, including important production details. A careful selection of key writings by the artist is also included. With 640 pages and more than 900 illustrations, it is the most comprehensive and in-depth treatment of Gary Hill's work to date, written in close connection with the artist, and offers an essential theoretical and scholarly frame for continuing study.