Showing titles in History & Criticism

Commissioned in 1750, the Palazzo Venier was planned as a testimony to the power and wealth of a great Venetian family, but the fortunes of the Venier family waned, and the project was left abandoned and unfinished. Yet in the early 20th century, it attracted three fascinating women: Luisa Casati, Doris Castlerosse and Peggy Guggenheim.

The Swedish painter Hilma af Klint (1862-1944) was forty-four years old when she broke with the academic tradition in which she had been trained to produce a body of radical, abstract works the likes of which had never been seen before. Today, it is widely accepted that af Klint was one of the earliest abstract academic painters in Europe. But this is only part of her story. Not only was she a working female artist, she was also an avowed clairvoyant and mystic.

In 1900, an 18-year-old Spaniard named Pablo Picasso made his first trip to Paris. It was in this glittering capital of the international art world that, after suffering years of poverty and neglect, he emerged as the leader of a bohemian band of painters, sculptors, and poets. Fueled by opium and alcohol, inspired by raucous late-night conversations at the Lapin Agile cabaret, Picasso and his friends resolved to shake up the world.

Michelangelo, God's Architect is the first book to tell the full story of Michelangelo's final two decades, when the peerless artist refashioned himself into the master architect of St. Peter’s Basilica and other major buildings. When the Pope handed Michelangelo control of the St. Peter’s project in 1546, it was a study in architectural mismanagement, plagued by flawed design and faulty engineering.

Coming face to face with an important illuminated manuscript in the original is rather like meeting a very famous person. We may all pretend that a well-known celebrity is no different from anyone else, and yet there is an undeniable thrill in actually meeting and talking to a person of world stature. The idea for this book, which is entirely new, is to invite the listener into an intimate conversation with a selection of the most famous manuscripts in existence and to let each of those manuscripts illuminate the Middle Ages and sometimes the modern world too.

No one skewers the popular movements of American culture like Tom Wolfe. In 1975, he turned his satirical pen to the pretensions of the contemporary art world - a world of social climbing, elitist posturing, and ingeniously absurd self-justifying theorizing. From the fuliginous flatness of the 50s to the pop op minimal 60s, right on through the now-you-see-it-now-you-don’t 70s, Tom Wolfe debunks the great American myth of modern art in an incandescent, hilarious, and devastating blast.

New York, 1921: Acclaimed photographer Alfred Stieglitz celebrates the success of his latest exhibition - the centerpiece, a series of nude portraits of his soon-to-be wife, the young Georgia O'Keeffe. The exhibit acts as a turning point for the painter poised to make her entrance into the art scene. There, she meets Rebecca Salsbury, the fiancé of Stieglitz’s protégé, Paul Strand, marking the start of a bond between the couples that will last more than a decade and reverberate throughout their lives.

Each night, when the hours of painting and drawing were over, Vincent van Gogh put pen to paper and poured out his heart through letters to his beloved brother Theo, his confidant and companion. No thought was too small, no element of his craft too insignificant, no happening too trivial. It was all scrupulously recorded and shared. In these letters, Van Gogh reveals himself as artist and man. Even more than if he had purposely intended to tell his life story, Van Gogh’s letters lay bare his deepest feelings, as well as his everyday concerns and his views of the world of art.

When he retired as the chief security officer of New York City's Metropolitan Museum of Art, John Barelli had spent the better part of 40 years responsible not only for one of the richest treasure troves on the planet, but the museum's staff, the millions of visitors, as well as American presidents, royalty, and heads of state from around the world. For the first time, John Barelli shares his experiences of the crimes that occurred on his watch, the investigations that captured thieves and recovered artwork....

As riveting as a World War II thriller, The Forger's Spell is the true story of Johannes Vermeer and the small-time Dutch painter who dared to impersonate him centuries later. For seven years a no-account painter named Han van Meegeren managed to pass off his paintings as those of one of the most beloved and admired artists who ever lived. As Edward Dolnick reveals, his true genius lay in psychological manipulation, and he came within inches of fooling the world. Instead, he landed in an Amsterdam court on trial for his life.

Bestselling author Leonard Shlain explores the life, art, and mind of Leonardo da Vinci, seeking to explain his singularity by looking at his achievements in art, science, psychology, and military strategy (yes), and then employing state of the art left-right brain scientific research to explain his universal genius. Shlain shows that no other person in human history has excelled in so many different areas as Da Vinci and he peels back the layers to explore the how and the why.

We have all seen, whether live, in photographs or on postcards, some of Claude Monet's legendary water lily paintings. They are in museums all over the world and are among the most beloved works of art of the past century. Yet, ironically, these soothing images were created amid terrible personal turmoil and sadness.

Intriguing and entertaining, The $12 Million Stuffed Shark is a Freakonomics approach to the economics and psychology of the contemporary art world. Why were record prices achieved at auction for works by 131 contemporary artists in 2006 alone, with astonishing new heights reached in 2007? Don Thompson explores the money, lust, and self-aggrandizement of the art world in an attempt to determine what makes a particular work valuable while others are ignored.

In this landmark study of Italy from the 14th through the early 16th centuries, Swiss historian Jacob Burckhardt chronicles the rise of Florence and Venice as powerful city-states, the breakup of the medieval worldview that came with the rediscovery of Greek and Roman culture, and the new emphasis on the role of the individual. All these, Burckhardt explains, went hand in hand with the explorations of science and the more naturalistic depiction of the world in art and literature.

Poststructuralism changes the way we understand the relations between human beings, their culture, and the world. Following a brief account of the historical relationship between structuralism and poststructuralism, this Very Short Introduction traces the key arguments that have led poststructuralists to challenge traditional theories of language and culture.

In 1654, the Thunderclap—an enormous explosion at a gunpowder store—devasted the city of Delft, killing hundreds of people, including the extraordinary painter Carel Fabritius, and injuring thousands more. Framing the story around the life of Fabritius, Cumming illuminates this extraordinary moment in art history while also writing about her own father, a painter. Like Dutch art, the story gradually links country, city, town, street, house, interior—all the way to the bird on its perch, the blue and white tile, the smallest seed in a loaf of bread.

When Roxana Robinson’s definitive biography of O’Keeffe was first published in 1989, it received rave reviews and was named a New York Times Notable Book of the Year. This new edition features a new foreword by the author, setting O’Keefe in an artistic context over the last thirty years since the book was first published, as well as previously unpublished letters of the young O’Keeffe to her lover, Arthur MacMahon. This book also relates the story of Robinson’s own encounter with the artist.

Art Monsters is a landmark feminist intervention in the way we think about women's stories and bodies, calling attention to a radical genealogy of feminist art that not only reacts against patriarchy but redefines its own aesthetic aims. Exploring a rich lineage of visual artists, thinkers, and writers, Elkin examines the ways feminists have confronted the problem of how to tell the truth of their experiences as bodies.

When Dave Hickey was 12, he rode the surfer's dream: the perfect wave. And, like so many things in life we long for, it didn't quite turn out - he shot the pier and dashed himself against the rocks of Sunset Cliffs in Ocean Beach, which just about killed him. Fortunately, for Hickey and for us, he survived, and continues to battle, decades into a career as one of America's foremost critical iconoclasts, a trusted, even cherished no-nonsense voice commenting on the all-too-often nonsensical worlds of art and culture.

Had Hitler succeeded in conquering Europe, he would have crowned himself Holy Roman Emperor. The Nazis had in their possession priceless artifacts that would give Hitler legitimacy in his subjects' eyes: the Crown Jewels of the Holy Roman Empire including the Spear of Destiny, alleged to have pierced Christ's side at the Crucifixion. Looted from the royal treasury in Vienna, Austria, the Crown Jewels were hidden in a secret bunker deep beneath Nrnberg castle, known to few.