Originally published in 1967, The Poetry of John Lydgate presents a broad discussion of John Lydgate's secular poetry. It reassesses much of the poetry through critical examination and suggests that Lydgate was not necessarily the master that the medieval ages proclaimed him to be, nor the plain poet that he is often seen as in modern analysis. Instead, the book suggest that he was a competent poetic craftsman that presents substantial literary form in his poetry. The analysis in the book looks at Lydgate as atypical of the Middle Ages, instead exhibiting traits currently linked to the Renaissance. The book provides a unique perspective on John Lydgate as a poet and will be of interest to medievalist and literary historians alike.

Originally published in 1967, The Poetry of John Lydgate presents a broad discussion of John Lydgate's secular poetry. It reassesses much of the poetry through critical examination and suggests that Lydgate was not necessarily the master that the medieval ages proclaimed him to be, nor the plain poet that he is often seen as in modern analysis. Instead, the book suggest that he was a competent poetic craftsman that presents substantial literary form in his poetry. The analysis in the book looks at Lydgate as atypical of the Middle Ages, instead exhibiting traits currently linked to the Renaissance. The book provides a unique perspective on John Lydgate as a poet and will be of interest to medievalist and literary historians alike.

“Reality is always magical.� —Jean Renoir, 1957 Art is a family matter for the Renoirs. The path is carved by Pierre-Auguste, the painter who along with Monet, Cézanne, Degas was at the origin of the impressionist movement and continues with Jean, the poetic avant-garde filmmaker. Indisputably one of the masters of French painting of the 19th century, Pierre-Auguste father one of the greatest cineastes of the twentieth century in Jean Renoir. From the father’s paintings to the son’s films, the artist affiliation reveals a similar pursuit, and a single source of inspiration: an ode to freedom finding its origins in a profound humanity and love of reality. Pierre-Auguste and Jean Renoir, father and son, each marked the history of art—through painting for Pierre-Auguste and film for Jean, with the common thread of a desire to transcribe reality. This graphic novel tells the story of the intertwined lives of these two creators who always sought to draw their inspiration from the “spectacle of life�. But behind their art, there is also the story of the filiation between an old man who is slowly losing his strength and a young man seeking to make his own mark.  In fact, it is not until after his father’s death that Jean began his career as a filmmaker and contributed some of the greatest films to the history of the movies: The Grand Illusion, The River, and The Rules of the Game. In 1975 he received an Academy Award for lifetime achievement for his body of his work.

Lynne Renoir began life as a devout Christian, but after many years, she realized that her faith was not working. She sought an explanation for her situation by completing postgraduate degrees in psychology and philosophy and carrying out research in quantum theory. Drawing on the insights that the universe is multidimensional and that everything is ultimately one, Renoir proposes that we, too, are multidimensional beings. She points out that what we believe about anything is generally deemed to be either true or false. This approach in her view is applicable to our everyday three-dimensional reality, but that transformation occurs when what we consciously accept as fact resonates with the oneness that lies at the deepest level of our being.

Renoir on Renoir is a 1990 collection of essays by, and interviews of, the legendary filmmaker Jean Renoir, who created such classics as The Grand Illusion, The River and The Rules of the Game. Renoir's career in cinema, which straddled the transition from silent film to the talkies, has influenced a subsequent generation of filmmakers. Between 1954 and 1967, Renoir was interviewed by such eminent filmmakers and theorists as Jacques Rivette, Francois Truffaut and Jacques Becker. The interviews were originally recorded and published in the distinguished French film review Cahiers du Cinema, and shown on French television. They are an engaging account of Renoir's deep commitment to his chosen profession. Providing additional information on his ideas and theories on screen writing and directing, Renoir's essays also include lively anecdotes of the genesis and evolution of each of his films. They reveal behind-the-scenes of some of the masterpieces of French cinema.

Jean Renoir directs this musical comedy drama set amidst the glittering nightlife of late 19th-century Paris. Jean Gabin stars as theatre impresario Henri Danglard, who plans to base his new club - the Moulin Rouge - around a modern reinvention of traditional cancan dancing. To this end, he hires pretty young washerwoman Nini (Francoise Arnoul) with a view to harnessing her natural talents and making her the star of the show. But Henri's attentions to Nini soon ignite the jealousy of his bellydancer lover Lola (Maria Felix).

Andre Bazin's What Is Cinema? (volumes I and II) have been classics of film studies for as long as they've been available and are considered the gold standard in the field of film criticism. Although Bazin made no films, his name has been one of the most important in French cinema since World War II. He was co-founder of the influential Cahiers du Cinema, which under his leadership became one of the world's most distinguished publications. Championing the films of Jean Renoir (who contributed a short foreword to Volume I), Orson Welles, and Roberto Rossellini, he became the protege of Francois Truffaut, who honors him touchingly in his forword to Volume II. This new edition includes graceful forewords to each volume by Bazin scholar and biographer Dudley Andrew, who reconsiders Bazin and his place in contemporary film study. The essays themselves are erudite but always accessible, intellectual, and stimulating. As Renoir puts it, the essays of Bazin "will survive even if the cinema does not."

Perhaps the best-loved of the Impressionists, Pierre-Auguste Renoir (1841-1919) favored beautiful women, children, and people enjoying themselves as subjects. His superb paintings, with their sensitive renderings of color and light, convey to viewers the artist's gusto for life. This splendid collection of miniaturized artworks presents 16 of Renoir's most famous paintings in pressure-sensitive sticker format. Included are Dance in the City, Dance in the Country, Spring Bouquet, After the Bath, Self-Portrait, Girl in a Boat, and 10 others.