The Phaidon Atlas of 21st Century World Architecture is a comprehensive portrayal of the finest built architecture from around the world completed since the year 2000. Divided into six world regions, the Phaidon Atlas of 21st Century World Architecture provides an important overview of global and local trends in architecture for a wide range of users. The geographical contexts for twenty-first century architectural production are explored in a global framework presented in accessible graphic formats. Each of the six world regions is introduced by an in-depth look at their unique urban and architectural issues. This statistical data has been researched and analyzed by a team of from the London School of Economics. More than 1000 key buildings have been chosen through a rigorous selection process involving a panel of expert advisors and specialists from every region. Each building is fully illustrated with drawings and photographs, and each is described by a short essay. Further information includes key data such as construction cost, client name, area of the building, and geographical coordinates. Cross-referencing between projects helps the user to find other buildings by the same architect included in the book. In addition, a mass of useful information is provided, including details about the architects' practices, as well as extensive indices.

«Mary Ellen Mark (b.1940) began working as a freelance photographer in the mid-1960s. In the 1970s, Mark worked on several bodies of work for which she gained her reputation as one of the most provocative documentary photographers, ensuring her legendary status in the history of photography. In 1976, she documented the women's maximum security ward of Oregon State Mental Hospital, and in 1978 she photographed the prostitutes in the brothels of Falkland Road in Bombay. Both became subjects for books published in 1979 and 1981 respectively. In 1977, she became a member of the photographic agency Magnum, remaining with the prestigious organisation until 1982, when she decided to work independently. In the 1980s and 1990s, she photographed and published books on homeless teenagers in Seattle, a holiday camp for children with cancer in California, Mother Teresa, circuses, and most recently, twins in America. Mark has received an impressive number of grants and awards, including three National Endowment for Art grants, the Robert F. Kennedy Journalism Award, a Guggenheim Fellowship, the Picture of the Year Award, and five honorary doctorates, including one from the University of Pennsylvania. Under contract with «The New Yorker» since 2003, she lives in New York City.»

This work contains illustrations of all of Michelangelo's work, his paintings, sculpture and architecture, excluding his drawings. The text surveys the opinions of leading Michelangelo scholars and provides a commentary with bibliographical notes. The exhaustive selection of plates devoted to the paintings of the Sistine Chapel provides a record of their condition before the recent controversial cleaning. Ten of the plates show some of the paintings in their restored state.

«From Egypt and Classical Greece and Rome through the building booms of the Gothic era and the Renaissance, and from the Industrial Revolution to the present era of digital modeling, «Building: 3,000 Years of Design, Engineering, and Construction» charts centuries of innovations in engineering and building construction. This comprehensive and heavily illustrated volume, aimed at students and young professionals as well as general readers, explores the materials, classic texts, instruments, and theories that have propelled modern engineering, and the famous and not-so-famous buildings designed through the ages, from the Parthenon to Chartes Cathedral and the dome of St. Peter's, from eighteenth-century silk mills in England to the Crystal Palace, and on to the first Chicago high-rises, the Sydney Opera House, and the latest «green» skyscrapers. The book concentrates on developments since the industrial and scientific revolutions of the seventeenth and eighteenth centuries. Incorporated within the continuous narrative are sidebars with short biographies of eminent engineers, excerpts from classic texts, stories of individual projects of major importance, and brief histories of key concepts such as calculus. Also included are extensive reference materials: appendices, a glossary, bibliography, and index.»

«Giovanni Antonio Canal (1697-1768), known as Canaletto, is one of the most popular of all old master painters. His views of Venice and London are much celebrated and admired. First published in 1982, and revised in 1994, this book is here reissued in paperback, tracing Canaletto's career from his beginnings as a scene-painter with his father to the work of his later years. Canaletto was interested in depicting the world around him, but unlike most of his fellow artists, he was more than a mere recorder of the amazing scenery of Venice or of Georgian England. He had the power, in the words of one of his contemporaries, to paint so that «the eye is deceived and truly believes it is the real thing it sees», and his insight and technical skills were so dazzling that it was thought he must rely on some sort of optical apparatus. His first views of Venice were painted around 1725 for Stefano Conti of Lucca. Soon after he came into contact with Joseph Smith, British Consul in Venice, who was to become his most important patron. Through Smith's influence, he came to England between about 1746 and 1756 during which time he painted many London scenes including views of Westminster Bridge, Whitehall, the Old Horse Guards, St James's Park and Somerset House as well as views of Warwick Castle and Eton College. These and many others of Canaletto's best paintings and watercolours are reproduced in the book's much expanded range of colour illustrations.»

«Es ist nicht die Frage, ob es passiert, sondern wann… Der gro?te Horror wird Realitat — ein todlicher Anschlag auf eine deutsche Gro?stadt. Unter den zahllosen Opfern ist auch Ben, der Sohn des Ex-Kommissars Lennard Pauly. Bei einem Uberwachungsauftrag sto?t der Privatdetektiv auf Informationen, die ihn an der offiziellen Aufklarung des Attentats zweifeln lassen. Wahrend das ganze Land von einem Feuer aus Hass und Gewalt verzehrt wird, sucht er nach der Wahrheit. Ist es moglich, dass die, die jetzt vom Zorn uber den Anschlag profitieren, die eigentlichen Drahtzieher sind? Nach den groen Erfolgen von «Das System» und «Der Duft» legt Karl Olsberg mit «Schwarzer Regen» sein bisheriges Meisterstuck vor. Als der Ex-Kommissar Lennard Pauly seinen Sohn bei einem unvorstellbar grausamen Terroranschlag verliert, fuhlt er sich zunachst ohnmachtig vor Zorn. Doch schon bald sto?t der Privatdetektiv im Rahmen eines Uberwachungsauftrags auf brisante Informationen. Ist es denkbar, dass die offizielle Erklarung uber die Hintergrunde des Attentats falsch ist? Wahrend das ganze Land in einem Strudel aus Hass und Gewalt zu versin-ken droht, macht Lennard Pauly sich auf die Suche nach den wahren Drahtziehern. Gemeinsam mit seiner Jugendliebe Eva verfolgt er unerbittlich ihre Spuren — und gerat selbst in Lebensgefahr. Seine unbandige Wut uber das abscheuliche Verbrechen gibt ihm die Kraft, alle Widerstande zu uberwinden. Doch als er kurz davor ist, sein Ziel zu erreichen, muss er eine schwere Entscheidung treffen …»

This beautiful monograph explores the life and work of one of the most important artists in the history of the West, Raphael (Raffaello Sanzio, 1483-1520). Its scope covers Raphael's origins, his early influences, his important Urbino period and subsequently the extraordinary series of frescoes and portraits of his last phase in Rome. Over two hundred of Raphael's finest paintings and drawings are illustrated, accompanied by an accessible yet highly informative text by the distinguished Renaissance scholar Bette Talvacchia. The author also explores Raphael's artistic relationships with such Renaissance masters as Leonardo and Michelangelo, culminating in a brilliant account of his masterpieces done in Rome under the patronage of Popes Julius II and Leo X.

Tiziano Vecellio (c.1488/90-1576) — known in English simply as Titian — was a remarkably versatile painter, equally comfortable with a wide range of genres and subjects. Unlike many artists from history whose work has been appreciated only after their death, Titian enjoyed fame and success throughout his career, which spanned over seven decades. Based in Venice, Titian received commissions from many local patrons and the Venetian government, as well as many distinguished figures from further afield, such as the Pope, the German emperor and the King of Spain. Titian's contemporary biographer, Giorgio Vasari, praised his skill as a colourist; the artist's careful modelling and depth of colour, shown to especially good effect in mythological works such as 'Bacchus and Ariadne' (1520-3) and 'Tarquin and Lucretia' (1569-71), continue to impress viewers in the twenty-first century. In addition to his success in representing pagan mythological themes, his skill as a portrait painter also won him many prestigious commissions, while his renown as a painter of religious subjects resulted in the creation of high-profile altarpieces, as well as individual works for private patrons. This new monologue combines Peter Humfrey's scholarly yet accessible text with 200 beautiful reproductions of Titian's works, from oil paintings and frescos to preparatory drawings. Careful attention has been paid to the scale and quality of the images, allowing the works and their vivid colours to be shown in their true intensity. The book is a perfect introduction to the work of this original and influential Renaissance artist.

Fra Giovanni da Fiesole (c. 1390/95-1455), known as Fra Angelico, was possibly the most celebrated religious painter of the Italian Early Renaisance. Adhering to the austere life of a Dominican monastery despite his huge success, Fra Angelico's contemporary biographer Giorgio Vasari said of him 'it is impossible to bestow too much praise on this holy father, who was so humble and modest in all that he did and said and whose pictures were painted with such facility and piety.' Originally trained as an illuminator, Fra Angelico went on to paint altarpieces that even early on in his career showed great skill in the rendering of the figures, composition and use of colour. Perhaps his most famous works however are the astonishing frescos that decorate the cells, corridors and Chapter House of San Marco Monastery in Florence, to where Fra Angelico moved in 1436 along with many of the monks from the Fiesole monastery in which they had been living.A magnificent altarpiece was also among the commissions for the newly built monastery, which showed an unprecedented realism in the intimate arrangement of the holy figures. Diane Cole Ahl's engaging text is combined with almost 200 images to create a book that is both informative and visually stunning. The works are discussed in detail, in the context of the time and places in which they were created, and Fra Angelico's influence, both directly on his pupils such as Benozzo Gozzoli, and more wide-ranging on the artists that followed in the later Renaissance, is also examined. The original viewpoints of the author and the hitherto unpublished artwork of a newly restored predella ensure that Fra Angelico will appeal to the specialised reader as well as students and those with an interest in art history.

«Danny Lyon emerged as a courageous participant and recorder of the civil rights movement in America in the early 1960s. He has long been considered one of the most popular and influential American photographers and pioneered the style of photographic 'New Journalism' — immersing himself and becoming a participant in his subjects' lives and leading the way in a style of photography that has influenced a following generation of photographers such as Nan Goldin. He has received much recognition for his work including two Guggenheim Fellowships, a Rockefeller Fellowship, and ten National Endowment for the Arts awards. His work is in a number of major photography collections and he has had solo exhibitions at many museums including the Museum of Modern Art, the Art Institute of Chicago.He recently was the subject of a retrospective at the Whitney Museum of American Art in 2007. His best-known bodies of work, mostly in black and white, include «The Bikeriders», a documentation of a Chicago outlaw motorcyle club that he photographed after joining them on the road, and «Conversations with the Dead», a portrayal of life in the Texas prison system. Both projects were published as photobooks and are among the most sought-after photobooks for collectors and photo-enthusiasts. A first edition of «The Bikeriders» can now be found on auction sites for over $2000 and both books are among Parr and Badger's selection of the most important photobooks in history in Phaidon's «The Photobook: A History, Volume I». This book presents a collection of Lyon's photo essays, published in their complete form for the first time, accompanied by texts written by Lyon in his own distinctive voice.These short bodies of work range from his early colour work made in Colombia in 1966 to his recent work made in Cuba. Sexy, edgy, visceral, and rough, most of this work has never been seen before and this book also includes lesser-known examples of Lyon's work in colour. Each of the nine photo essays includes 15 to 20 photographs, and the topics include his 1966 series on the women living in a brothel in a Colombian barrio, a beautiful 1965 series on a gang of young boys from Chicago, a mesmerising and joyful black and white series on Haiti from 1983, a humorous project on derby cars and their contestants from the late 1980s, a series on the troubled youth living in the Bushwick neighbourhood of Brooklyn in the 1990s, and a stunning colour series from Cuba in 2002.An introduction by Lyon gives an insight into his motivations and his career and an interview with the highly influential photography curator, Hugh Edwards, completes the portrait of this rebellious and important figure of American photography.»

In a survey of Californian-based artist Mike Kelly, the author of this volume discusses with the artist his various aesthetic and symbolic strategies in both the American and In European contexts. Kelly's work is considered in the context of his anti-art predecessors since Dada and chronicles all of Kelly's work, from his earliest performances in the late 1970s to his large sculptural installations in the 1990s.

Francois Truffaut (1932-1984), French motion-picture director and critic, a leader of the nouvelle vague movement of filmmakers who rejected the slick, impersonal style of studio filmmaking for a more personal approach, in which the director has sole creative authority and is recognized as the author of a film. Truffaut was born in Paris. After a troubled childhood, he left school at the age of 14. Through his passion for film, he met Andre Bazin, founder and co-editor of the influential journal Cahiers du Cinema, for which Truffaut began writing. Throughout his filmmaking career, which began in the late 1950s, Truffaut wrote or co-authored as well as directed all his feature films, which combine comedy, pathos, suspense, and melodrama. His first film was the highly acclaimed 400 Blows (1959), the story of Antoine Doinel, a misunderstood adolescent. This semi-autobiographical protagonist is featured and further developed in Stolen Kisses (1968), Bed and Board (1970), and Love on the Run (1979). Truffaut's eclectic films also include Shoot the Piano Player (1960), mixing farce and suspense; Jules and Jim (1962), the wistful story of a love triangle; Fahrenheit 451 (1966), his one excursion into science fiction; The Wild Child (1970), based on a true 19th-century story of a dedicated doctor's attempt to civilize a feral child; Two English Girls (1971), a tale of a young man in love with two sisters; Day for Night (1973), an homage to filmmaking that won an Academy Award for best foreign film; The Story of Adele H (1975), portraying an obsessive love; Small Change (1976), exploring the lives of children in a French village; and a theatre tribute, The Last Metro (1980).Truffaut was strongly influenced by French filmmakers Jean Vigo and Jean Renoir and by English-American director Alfred Hitchcock. In Truffaut at Work, film expert Carole Le Berre looks beyond the usual anecdotal sources about Truffaut to reveal an inspired and inspiring portrait of one of the most influential directors of the 20th century. She draws heavily from Truffaut's personal papers and the archives of the film studios he worked for detailing shooting schedules, budgets, memos, letters, storyboards and transcripts of discussions with key collaborators. The result is a major reassessment of the working methods of this groundbreaking director.

The Three Robbers has been translated into sixteen languages and has sold millions of copies in the 45 years since it was first published. However, it has been unavailable in English for years, depriving English-speaking children around the world of one of the most memorable, entertaining, and beautiful storybooks ever published, in which good triumphs over evil in a delightfully unexpected way. Tomi Ungerer has been described as 'the direct natural descendent of the Brothers Grimm and Hans Christian Andersen' and, like all the best fairy tales, The Three Robbers is by turns scary, charming, and surprising. The book tells the story of three fierce black-clad robbers who terrorize and plunder the countryside, armed with a blunderbuss, a pepper blower, and a huge red axe. One night, they meet a small girl called Tiffany, who is on her way to live with a wicked aunt. Tiffany is delighted to meet the robbers, and they take her back to their hideout in place of their usual haul of gold and jewels. Tiffany asks what they plan to do with their riches, but the robbers had never thought about spending money before. They soon find themselves embarking on a completely new career: they gather all of the lost, unhappy, and abandoned children that they can find, and then they buy a big castle so they can give all of the children a happy home. Hailed by the New York Times Book Review as 'one of the most brilliant illustrators at work today' Tomi Ungerer writes and illustrates unique books that have been the mainstay of children s libraries around the world for almost five decades. This book was first published in 1962, the same year as Maurice Sendak's Where the Wild Things Are. After the publication of these two groundbreaking titles, both of which are far removed from the cute, safe, nursery world of cuddly toys and fluffy bunnies, storybooks for children would never be the same again. In 1990, Sendak wrote: ''Some adults look at [Ungerer's] work, then rush to drag out the bromide that explains how easy it is to make a picture book: 'Just a handful of sentences and a lot of blazing pictures.' These critics fail to see that a successful picture book is a visual poem.'' In only 300 words and 20 unforgettable pictures, Ungerer creates an entertaining, wry modern morality tale in which good overcomes evil in the end. Ungerer's little blonde orphan Tiffany is far from helpless, she is not afraid of the robbers and instead reforms them, converting their evil into goodness. By the end of the story, the robbers are using their ill-gotten gains to create a kinder, better world for other unhappy children who have been neglected by a thoughtless society. At the time of the book's first publication, Tomi Ungerer summed up the moral of the story as, 'Whatever the color of money, it is never too late to make good use of it' an intriguingly ambivalent statement that serves as a good indication of the playful, unconventional, sometimes provocative and always entertaining nature of this author.

«Cartoonist and illstrator Jean-Jacques Sempe has been delighting readers in France and beyond with his witty drawing and cunning eye for the finer amusements of the human condition for over 40 years. This most recent body of his work from 2003, is now available in English. In «Mixed Messages», Sempe turns his attention to the trappings of modern life, mobile phones, designer water, as well as revisiting his favourite subjects, struggling artists, aloof psychologists and unhappy couples. Now in English by the «Asterix the Gaul» translator Anthea Bell, this book appeals to Francophiles, cartoonists, and the general public.»

From the late 1950s to the late 1960s the word 'Pop' described any example of art, film, photography and architectural design that engaged with the new realities of mass production and the mass media. In addition to key artworks by Andy Warhol, Roy Lichtenstein, Ed Ruscha, Richard Hamilton and many others, this book includes works of photography and avant-garde film, as well as what the critic Reyner Banham defined as pop architecture, ranging from Alison and Peter Smithson's House of the Future to Archigram's Walking City and Robert Venturi and Denise Scott Brown's Learning from Las Vegas. Edited by an internationally recognized expert on Pop art and culture, this book surveys Pop across all artforms and gives equal coverage to its American, British and European manifestations. Survey: renowned scholar and critic Hal Foster focuses on the Pop image as it developed over the period: Reyner Banham, The Independent Group and Pop Design; Richard Hamilton and the Tabular Image; Roy Lichtenstein and the Screened Image; Andy Warhol and the Seamy Image; Gerhard Richter and the Photogenic Image; Ed Ruscha and the Cineramic Image; and, Robert Venturi, Denise Scott Brown and the Postmodern Absorption of Pop. Works: each image is accompanied by an extended caption. This section is chronologically sequenced: Revolt into Style (1956-60) surveys the birth of Pop culture and its images, including the American Beat generation artists, photographers and filmmakers; Jasper Johns and Robert Rauschenberg, the French Decollageistes, Richard Hamilton and the 'British Pop' of the Independent Group. Consumer Culture (1960-63) chronicles American Pop's explosion, from Roy Lichtenstein's cartoon-based paintings to Claes Oldenburg's Store and Andy Warhol's Factory. Colonization of the Mind (1963-66) looks at American Pop's reception in Europe, in the work of Gerhard Richter, Sigmar Polke and others. Spectacular Time (1966-67) surveys late Pop developments, from Warhol's Silver Clouds to Malcolm Morley's Photorealism. Helter Skelter (1968) documents Pop's demise and transformation into postmodernism, in projects such as Robert Venturi and Denise Scott Brown's Learning from Las Vegas.

Surrealism is a survey of the twentieth century's longest lasting and, arguably, most influential art movement. Championed and held together by Andre Breton for over forty years, Surrealism was France's major avant-garde artistic tendency from 1924 onwards, rapidly spreading around the globe to become an international phenomenon. During World War II Surrealism's exiled artists and writers had a major impact on American art and were a primary influence for the Abstract Expressionist generation. The official surrealist movement continued to the end of Breton's life in 1966, and its legacy is still pervasive today, in contemporary art as well as in numerous quotations from surrealist imagery in cinema, advertising and the media. The Survey essay by Mary Ann Caws — a distinguished scholar, translator and associate of the Surrealists — describes in clear, perceptive and lively prose the essential characteristics that define Surrealism, as well as tracing a concise path through the chronology of this prolific and wide-ranging movement. The text also demonstrates how surrealist art and writing are interdependent. The Works section follows the movement from its beginnings in the 1920s up to the 1940s and 1950s. Its six sections trace the themes which predominated at different stages: Chance and Freedom — the earliest work, characterized by complete automatic spontaneity; Poetics of Vision — the strategies of surrealist image-making, reflecting the mind's inner visions; Elusive Objects — the fascination with objects of all kinds from which emerged artworks such as Meret Oppenheim's celebrated fur-lined cup and saucer; Desire — the investigation of desire, eroticism and 'mad love' which is central and unique to the movement; Delirium — Surrealism's high-risk engagement with extreme mental states and disturbing, uncanny visions; and, the Infinite Terrains of later Surrealism, ranging from Joseph Cornell's magical assemblages in box frames, like 'theatres of the mind', to the infinite fields and dynamic energy of late surrealist painting at the dawn of Abstract Expressionism.

For more than a thousand years, until its fall in 1453, the Byzantine Empire, the Christian successor to the Roman Empire in the eastern Mediterranean, stretched across large areas of Europe, North Africa and the Near East. Under successive emperors, the artists, architects and craftsmen of Byzantium (Constantinople, modern Istanbul) worked within a long-established tradition to produce superb buildings and art works of great expressive power. Churches were planned around a central, domed space, and their walls were covered in mosaics showing mysterious, stylized figures set against a shimmering gold background. Subsequent centuries tended to view Byzantine art as stagnant and corrupt, and the style was all but forgotten. From the beginning of the nineteenth century, however, the Eastern city once more began to inspire artists, architects and writers to produce not only palaces and churches, but also paintings, jewellery, interiors and art criticism. Byzantium was revitalized as a new source of inspiration, free from the associations of the other, ubiquitous styles of the nineteenth century: the Gothic and the Classical. Professor Bullen's original and pioneering interdisciplinary study presents the first coherent account of the varied manifestations of the revival of Byzantinism in Germany, Austria, France, Britain and America. The book is richly illustrated not only with original Byzantine models and the works that they inspired, but also with reproductions from the finely illustrated publications that played an important role in their own right by promoting Byzantium as an ideal. Covering the themes of politics, religion and literature as well as the arts, this book serves as an exemplary study in cultural history, providing real insight into the interplay of ideas and forms, in addition to being a fascinating account of an influential but little-known artistic movement.

Magnum photographer Steve McCurry has beautifully and evocatively photographed the temples of Angkor in Cambodia, among the world’s most impressive monuments. Published for the first time in paperback, over one hundred of his images of the site are collected in this stunning book, which documents a magical world of carved gods, weathered masonry, tangled vegetation and orange-robed monks.

This new monograph explores the life and works of Theodore Gericault (1791-1824), whose compelling career and legacy continue to captivate audiences, artists, and critics alike. In her comprehensive survey, Nina Athanassoglou-Kallmyer pays tribute to established Gericault scholarship while reassessing the career of an artist too easily miscast as the archetypal 'tortured soul' of art-historical Romantic mythology. She examines Gericault's career in the context of France under the Restauration, during which Louis XVIII s controversial rule resulted in vigorous popular debate over civic structures, the political process, and even aesthetic categories. Gericault immersed himself in these polemics, taking an intense interest in the fait divers, or 'daily happenings', of his time. The author explores his interest in medical and psychiatric science (as exemplified by a series of portraits of mental patients), his empathy for the poor and dispossessed (the subject of numerous lithographs), and the entrepreneurial spirit that led him to exhibit his epic canvas, the Raft of the Medusa, in London as a commercial venture. Gericault is presented as an artist committed to capturing contemporary life with creative integrity and dramatic verve.

«Francis Ford Coppola (USA, b. 1939) is the oldest of the generation of 'movie brats', including Scorsese and Spielberg, who breathed new life into the Hollywood of the 1970s. He revived the glory of the studio age with the legendary «Godfather» saga (1972-90), explored the soul of America at war in Vietnam with «Apocalypse Now» (1979) and has directed some of the greatest actors, including Brando, Pacino and De Niro. Having outgrown the role of director decreed by the major studios, he is now an independent producer and continues to direct films with undimmed brilliance («Tetro», 2009).»