Scandal, Shock and Rivalry Can Be an Artist's Best Friends Scandal, shock and rivalry all have negative connotations, don't they? They can be catastrophic to businesses and individual careers. A whiff of scandal can turn a politician into a smoking ruin. But these potentially disastrous "negatives" can and have spurred the world of fine art to new heights. A look at the history of art tells us that rivalries have, in fact, not only benefited the course of art, from ancient times to the present, but have also helped shape our narrative of art, lending it a sense of drama that it might otherwise lack, and therefore drawing the interest of a public who might not be drawn to the objects alone. There would be no Sistine Chapel by Michelangelo had rival Raphael not tricked the pope into assigning him the commission, certain that Michelangelo, who had never before worked with frescoes, would botch the job and become a laughing stock. Scandal and shock have proven to be powerful weapons when harnessed and wielded willfully and well. That scandal is good for exposure has been so obviously the case that many artists have courted it intentionally, which we will define as shock: intentionally overturning expectations of the majority in a way that traditionalist find dismaying or upsetting, but which a certain minority avant-garde find exciting. From Damien Hirst presenting the public with a shark embalmed in formaldehyde and entombed in a glass case to Marcel Duchamp trying to convince the art community that a urinal is a great sculpture shock has been a key promotional tool. The Devil in the Gallery is a guided tour of the history of art through it scandals, rivalries, and shocking acts, each of which resulted in a positive step forward for art in general and, in most cases, for the careers of the artists in question. In addition to telling dozens of stories, lavishly illustrated in full color, of such dramatic moments and arguing how they not only affected the history of art but affected it for the better, we will also examine the proactive role of the recipients of these intentionally dramatic actions: The art historians, the critics and even you, the general public. The Devil likes to lurk in dark corners of the art world, morphing into many forms. Let us shed light upon him.

`Kemp is a natural storyteller... This book leads you on a journey through the life, work and legacy of one of history's most intriguing figures.' The Times In an engaging personal narrative interwoven with historical research, Martin Kemp discusses a life spent immersed in the world of Leonardo, and his encounters with great and lesser academics, collectors and curators, devious dealers and unctuous auctioneers, major scholars and authors, pseudo-historians and fantasists. He shares how he has grappled with swelling legions of `Leonardo loonies', walked on the eggshells of vested interests in academia and museums, and fended off fusillades of non-Leonardos, sometimes more than one a week. Examining the greatest masterpieces, from the Last Supper to Salvator Mundi, through the expert's eye, we learn first-hand of the thorny questions that surround attribution, the scientific analyses that support the experts' interpretations, and the continuing importance of connoisseurship. Throughout, from the most scholarly interpretations to the popularity of Dan Brown's Da Vinci Code, we are reminded of Leonardo's unique genius and wonder at how an artist from 500 years ago continues to make such compelling posthumous demands on all those who engage with him.

This fully revised and updated third edition of the bestselling Ancient Egypt seeks to identify what gave ancient Egypt its distinctive and enduring characteristics, ranging across material culture, the mindset of its people, and social and economic factors. In this volume, Barry J. Kemp identifies the ideas by which the Egyptians organized their experience of the world and explains how they maintained a uniform style in their art and architecture across three thousand years, whilst accommodating substantial changes in outlook. The underlying aim is to relate ancient Egypt to the broader mainstream of our understanding of how all human societies function. Source material is taken from ancient written documents, while the book also highlights the contribution that archaeology makes to our understanding of Egyptian culture and society. It uses numerous case studies, illustrating them with artwork expressly prepared from specialist sources. Broad ranging yet impressively detailed, the book is an indispensable text for all students of ancient Egypt and for the general reader.

This fully revised and updated third edition of the bestselling Ancient Egypt seeks to identify what gave ancient Egypt its distinctive and enduring characteristics, ranging across material culture, the mindset of its people, and social and economic factors. In this volume, Barry J. Kemp identifies the ideas by which the Egyptians organized their experience of the world and explains how they maintained a uniform style in their art and architecture across three thousand years, whilst accommodating substantial changes in outlook. The underlying aim is to relate ancient Egypt to the broader mainstream of our understanding of how all human societies function. Source material is taken from ancient written documents, while the book also highlights the contribution that archaeology makes to our understanding of Egyptian culture and society. It uses numerous case studies, illustrating them with artwork expressly prepared from specialist sources. Broad ranging yet impressively detailed, the book is an indispensable text for all students of ancient Egypt and for the general reader.

German philosopher Arthur Schopenhauer wrote a strong text to explain his belief system in "The World as Will and Representation." Rather than viewing the world as a construct within itself, Schopenhauer argued that the world exists beyond the five senses. He believed that rather than seeing an object in its true form, we only see and understand our perception of it. His ideas are classified as post-Kantian philosophy, just one strand of thought amidst other thinkers such as Hegel and Heidegger. However, Schopenhauer is generally thought to follow Kant's original ideas most closely. Still, the philosopher disagrees with Kant's view of ethics, saying that inner experiences, driven by the Will, are the most significant part of the human experience. Born in the late 1700's, Schopenhauer was immersed in philosophy at a young age. By age 25, he published his doctoral dissertation "On the Fourfold Root of the Principle of Sufficient Reasoning." In his most famous works, he primarily focused on the attainment of happiness. He believed that physical and emotional desires can never be satisfied, resulting in a painful human condition. Schopenhauer claimed that all actions are internally motivated by a desire to obtain pleasure, but that lasting happiness would remain unobtainable. "The World as Will and Representation" is widely hailed as Schopenhauer's greatest work, as well as one of the most contemporarily-written philosophical texts of the nineteenth century. This edition splits the work into three volumes of which this is the second.

On an early morning in the fall of 1942, Kemp McLaughlin's group set out for a raid on a French target. Immediately after dropping its bombs, McLaughlin's plane was hit. A huge fire burned a four-foot hole in his wing, his waist gunner bailed out, his radio operator was wounded, the plane lost all oxygen, and his pilot put on a parachute and sat on the escape hatch, waiting for the plane to explode. And this was only McLaughlin's first sortie. McLaughlin went on to pilot the mission command plane on the second raid against Schweinfurt, the largest air raid in history, which resulted in the destruction of 70 percent of German ball bearing production capability. McLaughlin also participated in the bombing of heavy water installations in Norway. The Mighty Eighth in WWII also includes the stories of downed pilots in France and Holland who traveled under the cover of night through the countryside, evading the Nazis who had seen their planes go down. As a group leader, McLaughlin was responsible for the planning and execution of air raids, forced to follow the directives of senior (and sometimes less informed) officers. His position as one of the managers of the massive sky trains allows him to provide unique insight into the work of maintenance and armament crews, preflight briefings, and off-duty activities of the airmen. No other memoir of World War II reveals so much about both the actual bombing runs against Nazi Germany and the management of personnel and material that made those airborne armadas possible.