For the first time, explore John Singer Sargent's fascination with Spain as seen in stunning landscapes, architectural views, figure studies, and scenes of everyday life American artist John Singer Sargent (1856-1925) experienced Spain, including the picturesque island of Majorca, as a source of rejuvenation and inspiration. Sargent and Spain features scores of the artist's dazzling watercolors, oil paintings, and drawings, from landscapes and seascapes to architectural studies, scenes of everyday life, and sympathetic portraits of the Roma and other local people he encountered. Immersing himself in the country's rich culture, he studied Spanish masters old and new, lavishing particular attention on works by Diego Velazquez in the Prado. He rendered the distinctive architecture of the Alhambra as well as other palaces and churches, and he captured lively scenes of ports and villages. Intrigued by Spanish dance and music, Sargent created dynamic views of flamenco and the famous dancer La Carmencita. A map and an illustrated chronology document the artist's seven trips to and travels through Spain. This handsome book showcases, for the first time, Sargent's captivation with Spain and the remarkable works of art now associated with it. Published in association with the National Gallery of Art, Washington Exhibition Schedule: National Gallery of Art, Washington (October 2, 2022-January 2, 2023) Fine Arts Museums of San Francisco, Legion of Honor (February 11-May 14, 2023)

It is entirely appropriate to ask, 'Why another work on women artists?' More specifically, 'Why this North American Free Trade Agreement, this NAFTA-like approach which embraces women artists from Canada, Mexico, and the United States. As researchers, we have been frustrated many times by being unable to locate basic information about many of the artists included in this volume, especially those working outside the United States. Another reason for producing this particular kind of reference book, to try and create a better understanding between and among the artists and art audiences in these three countries.

"Nearly a century after the Armory Show, avant-garde art remains misunderstood by mainstream America. In a practical, industrious country where the fine arts have never been deeply rooted, abstract and conceptual artists are still too often dismissed as silly, untalented, or immoral, with art galleries portrayed as snobbish and greedy. This worsening cultural crisis affects private and public funding, discourages promising new voices, and threatens America's creative future. Nancy G. Heller's wonderful book arrives in the nick of time. Destined to be a classic of public education, it is lucid, engaging, and ingenious, leading the reader through the difficulties and strategies of avant-garde art. Intended for the general audience, the book is also must reading for teachers throughout the humanities, which have become distracted by jargon and ideology. Heller is an inspiring role model for university scholars, who must recover and renew their central mission of teaching."--Camille Paglia, University Professor and Professor of Humanities, University of the Art

"This delightful, down-to-earth guide demystifies the act of looking at modern and contemporary art with clarity and humor, drawing upon a diverse and wide-ranging array of artworks, which are abundantly reproduced. It will definitely appeal to novice viewers perplexed by the enigmas of earthworks and the splatters, scrapes, and splashes of non-traditional art, and it just may convince a few skeptics to look for beauty in unexpected places. "Why a Painting is Like a Pizza" is an ideal book for beginners because Nancy Heller leads us through the basics of analyzing the elements of any work of art while sharing tales of her own, often humorous, peregrinations to museums and galleries. She is an ideal companion---full of fun, facts, genuine enthusiasm, and a healthy respect for viewers abilities and their personal responses."--Bay Hallowell, Coordinator of Special Projects, Youth, and Family Programs, Philadelphia Museum of Art

"Nancy Heller has wrought a minor miracle. She has written a book about art that is of interest to both the layperson and the professional. "Why a Painting Is Like a Pizza" is informative and highly entertaining. By exploring the context within which art is made and exhibited, and by probing the criteria for evaluating it, Heller has constructed a useful framework for looking at art meaningfully. Without belittling artists and their work, she has demystified the artistic process. Through her pragmatic, everyday analogies she helps us see that all art is an act of communication and that the visitor's response--whatever it might be--is valid."--Susan S. Badder, Curator of Education, Corcoran Gallery of Art, Washington, D.C.

"Reading "Why a Painting is Like a Pizza" is like having a personal guide at your side as you make your way through unfamiliar territory. We feel that we are in a gallery, engaged in an engrossing conversation with somebody who knows a great deal about modern art, but does not pretend to know all the answers, or even believe that answers are always available. While we hear Nancy Heller's highly intelligent and often very witty voice throughout the entire book, we also hear our own, for the author seems to know what we are thinking, wondering, and even resisting before we have been able to put our questions and doubts into words. "--Linda Andre, Program Specialist forTeacher Services, The Sylvia Friedberg Nachlas Endowed Chair in Museum Education, Department of Education & Interpretation, The Baltimore Museum of Art

"So much writing on modern art is dessicated intellectualism, jargon laden, and marinated in theory. Here, instead, we have a simple and clear presentation, truly accessible to students, general readers, and museum beginners."--A. Richard Turner, author of "Inventing Leonardo"

Firmly established as one of the premier histories of women in the fine arts, Nancy G. Heller's "Women Artists returns in an expanded fourth edition. With coverage of the 1990s and the beginning of the new millennium, nearly half the volume is now devoted to the remarkable period from 1960 to the present, when women artists emerged as the most dynamic force in contemporary art. New to this edition are innovative contemporary American artists such as Janine Antoni and Judith Schaechter, as well as major international figures, including Iran's Shirin Neshat, Shahzia Sikander from Pakistan, and the Icelandic sculptor and performance artist Katrin Sigurdardottir. As in past editions, all the artists' works are represented in large-format color reproductions, and the artists' careers are examined in concise critical biographies.