Neil MacGregor's A History of the World in 100 Objects takes a bold, original approach to human history, exploring past civilizations through the objects that defined them. Encompassing a grand sweep of human history, A History of the World in 100 Objects begins with one of the earliest surviving objects made by human hands, a chopping tool from the Olduvai gorge in Africa, and ends with objects which characterise the world we live in today. Seen through MacGregor's eyes, history is a kaleidoscope - shifting, interconnected, constantly surprising, and shaping our world today in ways that most of us have never imagined. A stone pillar tells us about a great Indian emperor preaching tolerance to his people; Spanish pieces of eight tell us about the beginning of a global currency; and an early Victorian tea-set speaks to us about the impact of empire. An intellectual and visual feast, this is one of the most engrossing and unusual history books published in years. 'Brilliant, engagingly written, deeply researched' Mary Beard, Guardian 'A triumph: hugely popular, and rightly lauded as one of the most effective and intellectually ambitious initiatives in the making of 'public history' for many decades' Sunday Telegraph 'Highly intelligent, delightfully written and utterly absorbing ' Timothy Clifford, Spectator 'This is a story book, vivid and witty, shining with insights, connections, shocks and delights' Gillian Reynolds Daily Telegraph

From Neil MacGregor, the author of A History of the World in 100 Objects, this is a view of Germany like no other For the past 140 years, Germany has been the central power in continental Europe. Twenty-five years ago a new German state came into being. How much do we really understand this new Germany, and how do its people now understand themselves? Neil MacGregor argues that uniquely for any European country, no coherent, over-arching narrative of Germany's history can be constructed, for in Germany both geography and history have always been unstable. Its frontiers have constantly floated. Koenigsberg, home to the greatest German philosopher, Immanuel Kant, is now Kaliningrad, Russia; Strasbourg, in whose cathedral Johann Wolfgang von Goethe, Germany's greatest writer, discovered the distinctiveness of his country's art and history, now lies within the borders of France. For most of the five hundred years covered by this book Germany has been composed of many separate political units, each with a distinct history. And any comfortable national story Germans might have told themselves before 1914 was destroyed by the events of the following thirty years. German history may be inherently fragmented, but it contains a large number of widely shared memories, awarenesses and experiences; examining some of these is the purpose of this book. Beginning with the fifteenth-century invention of modern printing by Gutenberg, MacGregor chooses objects and ideas, people and places which still resonate in the new Germany - porcelain from Dresden and rubble from its ruins, Bauhaus design and the German sausage, the crown of Charlemagne and the gates of Buchenwald - to show us something of its collective imagination. There has never been a book about Germany quite like it.

"An enthralling and profoundly humane book that every civilized person should read." --The Wall Street Journal The blockbuster New York Times bestseller and the companion volume to the wildly popular radio series When did people first start to wear jewelry or play music? When were cows domesticated, and why do we feed their milk to our children? Where were the first cities, and what made them succeed? Who developed math--or invented money? The history of humanity is one of invention and innovation, as we have continually created new things to use, to admire, or leave our mark on the world. In this groundbreaking book, Neil MacGregor turns to objects that previous civilizations have left behind to paint a portrait of mankind's evolution, focusing on unexpected turning points. Beginning with a chopping tool from the Olduvai Gorge in Africa and ending with a recent innovation that is transforming the way we power our world, he urges us to see history as a kaleidoscope--shifting, interconnected, constantly surprising. A landmark bestseller, A History of the World in 100 Objects is one f the most unusual and engrossing history books to be published in years. "None could have imagined quite how the radio series would permeate the national consciousness. Well over 12.5 million podcasts have been downloaded since the first programme and more than 550 museums around Britain have launched similar series featuring local history. . . . MacGregor's voice comes through as distinctively as it did on radio and his arguments about the interconnectedness of disparate societies through the ages are all the stronger for the detail afforded by extra space. A book to savour and start over." -The Economist

During the economic boom of the 1990s, art museums expanded dramatically in size, scope, and ambition. They came to be seen as new civic centers: on the one hand as places of entertainment, leisure, and commerce, on the other as socially therapeutic institutions. But museums were also criticized for everything from elitism to looting or illegally exporting works from other countries, to exhibiting works offensive to the public taste.

"Whose Muse?" brings together five directors of leading American and British art museums who together offer a forward-looking alternative to such prevailing views. While their approaches differ, certain themes recur: As museums have become increasingly complex and costly to manage, and as government support has waned, the temptation is great to follow policies driven not by a mission but by the market. However, the directors concur that public trust can be upheld only if museums continue to see their core mission as building collections that reflect a nation's artistic legacy and providing informed and unfettered access to them.

The book, based on a lecture series of the same title held in 2000-2001 by the Harvard Program for Art Museum Directors, also includes an introduction by Cuno and a fascinating--and surprisingly frank--roundtable discussion among the participating directors. A rare collection of sustained reflections by prominent museum directors on the current state of affairs in their profession, this book is without equal. It will be read widely not only by museum professionals, trustees, critics, and scholars, but also by the art-loving public itself.

In this intriguing book, E.H. Gombrich, who was one of the world's foremost art historians, traces how cast shadows have been depicted in Western art through the centuries. Gombrich discusses the way shadows were represented--or ignored--by artists from the Renaissance to the 17th century and then describes how Romantic, Impressionist, and Surrealist artists exploited the device of the cast shadow to enhance the illusion of realism or drama in their representations. First published to accompany an exhibition at the National Gallery, London, in 1995, it is reissued here with additional color illustrations and a new introduction by esteemed scholar Nicholas Penny. It is also now available as an enhanced eBook, with zoomable images and accompanying film footage.

Following the award-winning BBC Radio 4 series, a panoramic exploration of peoples, objects and beliefs from the celebrated author of A History of the World in 100 Objects and Germany 'Riveting, extraordinary ... tells the sweeping story of religious belief in all its inventive variety. The emphasis is not on our differences, but on shared spiritual yearnings' Rachel Campbell-Johnston, The Times, Books of the Year One of the central facts of human existence is that every society shares a set of beliefs and assumptions - a faith, an ideology, a religion - that goes far beyond the life of the individual. These beliefs are an essential part of a shared identity. They have a unique power to define - and to divide - us, and are a driving force in the politics of much of the world today. Throughout history they have most often been, in the widest sense, religious. Yet this book is not a history of religion, nor an argument in favour of faith. It is about the stories which give shape to our lives, and the different ways in which societies imagine their place in the world. Looking across history and around the globe, it interrogates objects, places and human activities to try to understand what shared beliefs can mean in the public life of a community or a nation, how they shape the relationship between the individual and the state, and how they help give us our sense of who we are. For in deciding how we live with our gods, we also decide how to live with each other. 'The new blockbuster by the museums maestro Neil MacGregor ... The man who chronicles world history through objects is back ... examining a new set of objects to explore the theme of faith in society' Sunday Times

The Elizabethan age was a tumultuous time, when long-cherished certainties were crumbling and life was exhilaratingly uncertain. Shakespeare's Restless World uncovers the extraordinary stories behind twenty objects from the period to re-create an age at once distant and yet surprisingly familiar. From knife crime to belief in witches, religious battles to the horizons of the New World, Neil MacGregor brings the past to life in a fresh, unexpected portrait of a dangerous and dynamic era. 'Fascinating ... filled with anecdotes and insights, eerie, funny, poignant and grotesque ... another brilliant vindication of MacGregor's understanding of physical objects to enter deep into our fore fathers' mental and spiritual world' Christopher Hart, Sunday Times 'Enjoyable and intriguing, an absorbing evocation ... he draws us into the minds of the Elizabethan and Jacobean audience. Next time you see one of the plays reading this book will make those first audiences seem real to you' Peter Lewis, Daily Mail 'How gripping are these tales from a lost world. And what a world Shakespeare's was - adventurous, melancholy, rich and plagued by beggary, courteous and quarrelsome, sceptical and credulous' Daily Telegraph 'Elegant, informative ... provides stimulating insights' Anne Somerset, Spectator

Are there miscarriages of justice in art history? Neil MacGregor believes there are. However great an artist, if his name is lost he will not receive a fair verdict from posterity. No exhibition will be devoted to his work; no books will be written about him; he will not even figure in indexes. Among these neglected geniuses is the 15th-century painter known only as the Master of the Saint Bartholomew Altarpiece. He may have been Netherlandish or German; he may or may not have been a monk. On stylistic grounds an oeuvre of half a dozen paintings, three of them large altarpieces, are attributed to him, and from them a vivid, if hypothetical, personality can be built up: emotional, compassionate, observant, original, humorous. All that is certain is that he was a great painter whose name, if known, would rank with Botticelli or Holbein. In A Victim of Anonymity, the Director of the National Gallery, London, corrects the judgment of history by demonstrating the power of this unacknowledged master. MacGregor makes us look closely at works that are all too easily passed over, showing us a peerless artist whose paintings derive their fame from nothing but their own superlative merits.

A panoramic exploration of peoples, objects and beliefs over 40,000 years from the celebrated author of A History of the World in 100 Objects and Germany, following the new BBC Radio 4 documentary and British Museum exhibition. One of the central facts of human existence is that every society shares a set of beliefs and assumptions - a faith, an ideology, a religion - that goes far beyond the life of the individual. These beliefs are an essential part of a shared identity. They have a unique power to define - and to divide - us, and are a driving force in the politics of much of the world today. Throughout history they have most often been, in the widest sense, religious. Yet this book is not a history of religion, nor an argument in favour of faith. It is about the stories which give shape to our lives, and the different ways in which societies imagine their place in the world. Looking across history and around the globe, it interrogates objects, places and human activities to try to understand what shared beliefs can mean in the public life of a community or a nation, how they shape the relationship between the individual and the state, and how they help give us our sense of who we are. For in deciding how we live with our gods, we also decide how to live with each other. 'The new blockbuster by the museums maestro Neil MacGregor ... The man who chronicles world history through objects is back ... examining a new set of objects to explore the theme of faith in society' Sunday Times

In 2010, the BBC and the British Museum embarked on an ambitious project: to tell the story of two million years of human history using one hundred objects selected from the Museum's vast and renowned collection.
Presented by the British Museum's Director Neil MacGregor, each episode focuses on a single object--from a Stone Age tool to a solar-powered lamp--and explains its significance in human history. Music, interviews with specialists, and quotations from written texts enrich the listener's experience. On each CD, objects from a similar period of history are grouped together to explore a common theme and make connections across the world. Seen in this way, history is a kaleidoscope: shifting, interlinked, constantly surprising, and shaping our world in ways that most of us have never imagined.
This box set also includes an illustrated booklet with additional background information and photographs, and each CD includes PDF images of the featured objects.