Explore the groundbreaking (and terrifying) pantheon of monsters from the 20th century’s greatest films and fiction interpreted by the world’s most exciting contemporary artists and illustrators in Classic Monsters, Modern Art!

What we now know as horror was born on a rainy night in 1816, when a candle-lit writing contest between famous friends spawned Frankenstein... and eventually grew into an international genre and film sensation! Classic Monsters, Modern Art documents and reimagines the trajectory of Gothic horror––from film’s silent era all the way to the turn of the millennium.

Featuring exclusive artwork from more than 65 artists and a richly detailed chronicle from genre expert Anthony Taylor, this incredible volume brings together the canonical and the contemporary to create a truly original, timeless experience: a riveting journey through the history of film’s most iconic monsters by way of modern art.

ICONIC MONSTERS: From Frankenstein’s monster to Count Dracula, Elvira to Godzilla, King Kong to Freddy Kruger, this is the definitive visual compendium of the greatest movie monsters.

65+ ARTISTS: This book breathes new life into beloved classics, featuring exclusive artwork from more than 65 contemporary illustrators, cartoonists, and painters.

TIMELESS QUALITY: This hardcover volume provides a deluxe experience, with full-color artwork of the highest caliber and a design firmly entrenched in the genre that inspired it. A gorgeous coffee-table book that will stand the test of time.

Flamboyant, cultured and refined, aristocracy is often seen as a national treasure. Lords of Misrule takes a different view and considers the role of an aristocracy behaving badly. This is a book about the political, social and moral failings of aristocracy and the ways in which they have featured in political rhetoric. Drawing on the views of critics of aristocracy, it explores the dark side of power without responsibility. Less 'patrician paragons' than dissolute and debauched debtors, the aristocrats featured here undermined, rather than augmented, the fabric of national life. For the first time, Lords of Misrule recaptures the views of those radicals and reformers who were prepared to contemplate a Britain without aristocrats.

I have been asked to write a brief foreword to this volume honoring Hisako Ikeda, providing a review of the accomplishments in our field over the past four decades, when Hisako was an active participant. This I am delighted to do. It has been a most exciting time in vision research and Hisako has been right in the middle of much of the excitement, publishing on a wide variety of topics and providing much new data and many new insights. Hisako's research career can be divided by decades into four quite distinct areas of inquiry. In the 1950s, as a student in Japan, her research interests were psychophysical in nature, and she was concerned with visual illusions, figural aftereffects, and motion detec tion. In the 1960s, after her move to London, she began electrophysiological studies. Much of her work in the 1960s was concerned with the electroretinogram (ERG), its components, and the use of this electrical response for evaluating spectral sensitivities of the eye and retinal degenerations. This work represented the beginning of her electrodiagnostic clinical work, which continued until her retirement."

What made many of the great adventure comics of the 1960s so attractive were their fantastic painted covers by artist George Wilson. Unlike other comic book covers of the era, Wilson's covers harkened back to the era of pulp magazines and were spectacularly eye-catching. He turned in efforts for literally hundreds of comics titles including: Classics Illustrated, The Twilight Zone, Ripley's Believe It or Not, Dr.Solar, Magnus Robot Fighter, Turok, Son of Stone and Star Trek, to name but a few. This new art book focuses on over 300 examples of his cover art and features numerous examples of Wilson's artwork scanned from the originals together with many of the book covers he created including his extensive run on Avon's The Phantom (as well as his work on the Gold Key version).

I have been asked to write a brief foreword to this volume honoring Hisako Ikeda, providing a review of the accomplishments in our field over the past four decades, when Hisako was an active participant. This I am delighted to do. It has been a most exciting time in vision research and Hisako has been right in the middle of much of the excitement, publishing on a wide variety of topics and providing much new data and many new insights. Hisako's research career can be divided by decades into four quite distinct areas of inquiry. In the 1950s, as a student in Japan, her research interests were psychophysical in nature, and she was concerned with visual illusions, figural aftereffects, and motion detec tion. In the 1960s, after her move to London, she began electrophysiological studies. Much of her work in the 1960s was concerned with the electroretinogram (ERG), its components, and the use of this electrical response for evaluating spectral sensitivities of the eye and retinal degenerations. This work represented the beginning of her electrodiagnostic clinical work, which continued until her retirement."