This beautifully illustrated catalogue showcases 126 Spanish and Portuguese artworks from the 17th and 18th centuries, all highlights from the dazzling collection of Roberta and Richard Huber. Featuring works in a variety of media and from far-flung places, including paintings, silver, and furniture from South America and sculptures in ivory from the Spanish Philippines and from Portuguese territories in India. Distinguished experts shed light on these significant objects, many of which have not been previously published and which illustrate the unparalleled artistic exchanges between and within these colonial empires. The Andean painters Melchor Perez Holguin (1660-1732) and Gaspar Miguel de Berrio (c. 1706-c. 1762) inventively interpreted European iconographies, while similar adaptations took place in Asia, where native craftsmen carved Christian images in ivory. These works travelled along the trade routes connecting Europe to Asia and the Americas, thus influencing the development of a new visual culture.

What is it to be a work of art? Renowned author and critic Arthur C. Danto addresses this fundamental, complex question. Part philosophical monograph and part memoiristic meditation, What Art Is challenges the popular interpretation that art is an indefinable concept, instead bringing to light the properties that constitute universal meaning. Danto argues that despite varied approaches, a work of art is always defined by two essential criteria: meaning and embodiment, as well as one additional criterion contributed by the viewer: interpretation. Danto crafts his argument in an accessible manner that engages with both philosophy and art across genres and eras, beginning with Plato's definition of art in The Republic, and continuing through the progress of art as a series of discoveries, including such innovations as perspective, chiaroscuro, and physiognomy. Danto concludes with a fascinating discussion of Andy Warhol's famous shipping cartons, which are visually indistinguishable from the everyday objects they represent. Throughout, Danto considers the contributions of philosophers including Descartes, Kant, and Hegel, and artists from Michelangelo and Poussin to Duchamp and Warhol, in this far-reaching examination of the interconnectivity and universality of aesthetic production.

This informative and engaging book on the Museum's outstanding collection of Etruscan art also provides an introduction to the fascinating and diverse culture of ancient Etruria, which thrived in central Italy from about 900 to 100 B.C. Masterpieces of the collection include seventh-century B.C. objects from the Monteleone di Spoleto tomb group (including the famous, remarkably well-preserved, bronze chariot), intricate gold jewellery, carved gems, and wonderful ambers. For the first time in more than 70 years, this incredible body of work is published in an informative and engaging book that draws upon decades of exhaustive research. Etruscan Art opens with short histories of pre-Roman Italy, Etruscan Studies, and the Metropolitan's collection, followed by chronological analyses of tomb groups, types of objects, and individual objects. The closing section features forgeries, pastiches, and objects of uncertain authenticity, all previously thought to be genuine. Richard De Puma, one of the foremost experts on Etruscan art, provides an invaluable new contribution to the study of ancient Italy.

This fascinating book offers the first comprehensive study in English of Baldassare Longhena (1598-1682), the indispensable architect of the Venetian Baroque. While Longhena's legacy is most visible in his iconic Madonna della Salute, the 17th-century basilica devoted to the Virgin Mary in gratitude for Venice's deliverance from the plague, and in the Pesaro and Rezzonico palaces along the Grand Canal, he created a plethora of other works over the course of a career that spanned half a century. Andrew Hopkins' lucid and thought-provoking text considers the full span of Longhena's illustrious career, from his monumental staircases and libraries, to the palaces commissioned by private patrons and his projects for Venice's Greek and Jewish communities. This lively account is accompanied by more than sixty colour and 300 black-and-white photographs commissioned especially for the book. A complete list of Longhena's work is included in an appendix.

Widely regarded as one of the most important photographers of the 20th century, Garry Winogrand (1928-1984) did much of his best-known work in Manhattan during the 1960s, becoming an epic chronicler of that tumultuous decade. But Winogrand was also an avid traveller and roamed extensively around the United States, bringing exquisite work out of nearly every region of the country. This landmark retrospective catalogue looks at the full sweep of Winogrand's exceptional career. Drawing from his enormous output, which at the time of his death included thousands of rolls of undeveloped film and unpublished contact sheets, the book will serve as the most substantial compendium of Winogrand's work to date. Lavishly illustrated with both iconic images and photographs that have never been seen before now, and featuring essays by leading scholars of American photography, Garry Winogrand presents a vivid portrait of an artist who unflinchingly captured America's swings between optimism and upheaval in the postwar era.

Since its origins in the 1970s, punk has had an incendiary influence on fashion. As a style, punk was about chaos, anarchy, and rebellion. This title examines the impact of punk's aesthetic of brutality on high fashion, focusing especially on its do-it-yourself, rip-it-to-shreds ethos, the antithesis of couture's made-to-measure exactitude.

Edward Hopper (1882 — 1967) is recognized as one of the most well-known American artists of the 20th century. His distinctive style, combining subtle observations of the world with his imagination, has not only influenced other artists but also photographers, filmmakers, and popular culture. Although Hopper is primarily known for his oil paintings, including such iconic works as Nighthawks (1942) and Early Sunday Morning (1930), this important publication is the first comprehensive exploration of his drawings and working methods. In 1967, Hopper's widow, Josephine Nivison Hopper, bequeathed her husband's artistic estate to the Whitney Museum of American Art, including a fascinating collection of more than 2,000 drawings spanning his entire career. This group of works has never been the subject of in-depth study and many have never been reproduced before. Hopper kept these drawings for personal reference as he revisited various themes throughout his career. Carter E. Foster carefully examines how Hopper used his drawings to develop his paintings, arguing that the artist's work can only be fully understood after in-depth study of these preparatory sketches. Foster also argues that Hopper was, in many ways, a traditional draftsman who methodically developed schematic ideas into detailed studies to refine content. However, the steps toward this refinement are unique to Hopper and reveal how he turned the mundane into poetic images with universal appeal.

In the years between 1890 and 1905, Paris witnessed a revolution in printmaking. Before this time, prints had primarily served reproductive or political ends, but, as the century came to a close, artistic quality became paramount, and printmaking blossomed into an autonomous art form. This gorgeously illustrated and accessibly written book looks at the circumstances in which this terrific new enthusiasm for prints unfolded; the principal players in its development; and the various printmaking techniques being used. Most modern French artists experimented with lithographs, etchings, or woodcuts, many of which were published in small editions intended for art connoisseurs and collectors. Their popularity, however, was not confined to these exclusive groups. Colorful prints designed by Pierre Bonnard, Paul Gauguin, Henri-Gabriel Ibels, Henri de Toulouse-Lautrec, and Edouard Vuillard, among others, were seen and admired all over Paris in the form of illustrated theater programs, sheet music, magazines, books, and street posters. Featuring highlights from the Van Gogh Museum, which houses a superb collection of prints from fin de siecle Paris, this enlightening volume shows how the most influential artists of the day turned their hands to making beautiful impressions — prints that were works of art in themselves.

«Pliny's «Natural History» (AD 77-79) served as a guide to and exemplar of the ideals of art for Renaissance artists, patrons, and theorists. This title charts the historiography of Latin and Italian manuscripts and early printed copies of the «Natural History» to trace the dissemination of its contents to artists from Donatello to Michelangelo.»

Winslow Homer (1836-1910) is one of the core figures of 19th-century American art. The Clark Art Institute holds one of the greatest collections of Homer's work across all media. The collection was assembled predominately by Robert Sterling Clark (1877-1956). This book examines Clark as a collector of Homer and the Clark's extensive holdings.

A perennial favourite of museum visitors, the works of William Merritt Chase (1849-1916) embody the quintessential characteristics of American Impressionism: outdoor landscapes, a colourful palette, and an energetic brush stroke. He was also a portrait painter of the first rank, a master of still life, a renowned teacher, and a leader of artists' societies. This gorgeous book, the first of a four-volume definitive catalogue, features Chase's stunning paintings in pastel, which constitute a major and previously understudied body of work by the artist; monotypes; painted tiles and plates; watercolours; and prints. Reconstructing Chase's oeuvre is a daunting task, as the artist left few records of any kind, and no documentation of his individual works exists. Furthermore, Chase's paintings and pastels have been forged in great numbers throughout the years, and many of these works still surface on the art market. Making this long-awaited volume even more valuable is a list of every known exhibition of Chase's work during the artist's lifetime, selected examples of major post-1917 exhibitions, and an essay on Chase's innovative pastel technique.

The Tuileries Garden is a masterpiece of garden design and one of the world's most iconic public art spaces. Designed for Louis XIV by landscape architect Andre Le Notre, it served the now-destroyed Tuileries Palace. It was opened to the public in 1667, becoming one of the first public gardens in Europe. The garden has always been a place for Parisians to convene, celebrate, and promenade, and art has played an important role throughout its history. Monumental sculptures give the garden the air of an outdoor museum, and the garden's beautiful backdrop has inspired artists from Edouard Manet to Andre Kertesz. The Art of the Louvre's Tuileries Garden brings together 100 works of art, including paintings and sculptures, as well as documentary photographs, prints, and models illuminating the garden's rich history. Beautifully illustrated essays by leading scholars of art and garden studies highlight the significance of the Tuileries Garden to works of art from the past 300 years and reaffirm its importance to the history of landscape architecture.

The Gothic Revival movement in architecture was intimately entwined with 18th — and 19th — century British cultural politics. By the middle of the 19th century, architects and theorists had transformed the movement into a serious scholarly endeavour, connecting it to notions of propriety and truth, particularly in the domain of religious architecture. Simultaneously, reform within the Church of England had worked to widen the aesthetic and liturgical appeal of correct gothic forms. Coinciding with these developments, both architectural and religious, was the continued expansion of Britain's empire, including a renewed urgency by the English Church to extend its mission beyond the British Isles. In this groundbreaking new study, G. A. Bremner traces the global reach and influence of the Gothic Revival throughout Britain's empire during these crucial decades. Focusing on religious buildings, he examines the reinvigoration of the Church of England's colonial and missionary agenda and its relationship to the rise of Anglican ecclesiology, revealing the extraordinary nature and extent of building activity that occurred across the British world.

Jackson Pollock's revolutionary 'drip paintings' put American art on the map, representing the first real break with the formal structures of European art. But it was not only his vibrant canvases that made him a celebrity during his life and a legendary figure after his death in a car crash at the age of forty-four. In the 1950s Pollock became an icon of rebellion, brooding and defiant, prefiguring actors like Marlon Brando and James Dean, who came to epitomize the persona. Pollock is even thought to be a model for Stanley Kowalski, the antihero of A Streetcar Named Desire and the role that first made Brando famous. Now Evelyn Toynton offers an intriguing look at Pollock's dramatic life and legacy, from his hardscrabble childhood in Wyoming and Arizona; to New York City during the Great Depression, the scene of his earliest encounters and struggles with contemporary art; to his days in the run-down Long Island fishing village his presence helped transform into a fashionable resort. Viewing Pollock within the context of his time, Toynton illustrates his wide-ranging influence on art and pop culture — and examines why he continues to captivate, both as an artist and as a man.

Eye on a Century celebrates a cornerstone of the Yale University Art Gallery's holdings: the Charles B. Benenson Collection of Modern and Contemporary Art. This major bequest includes works by a veritable pantheon of modern and contemporary artists — among them Jean-Michel Basquiat, Stuart Davis, Fernand Leger, Joan Miro, James Rosenquist, and David Smith. The catalogue provides exciting new scholarship on some of the collection's most significant objects, including works by Alexander Calder, Kurt Schwitters, and Pablo Picasso, alongside lesser-known works, by artists such as Alicia Penalba, David Wojnarowicz, and Martin Wong, several of which have never before been published. The introduction, which examines the context of Benenson's collecting, is followed by more than fifty catalogue entries and an illustrated checklist of the complete collection.

This major study offers a new understanding of the aesthetics and politics of postwar European and American art. Questioning the widespread assumption that the most innovative practices were non-representational, it shows how a powerful realist impulse operated alongside a strong commitment to abstraction. Alex Potts makes the case that the ambition to create work that engaged with the everyday and political realities of the world motivated much of the period's vital experimentation with medium and artistic process. Experiments in Modern Realism is a refreshingly unorthodox account of the artistic and political impulses shaping the diverse practices that emerged in mid-20th century art. The wide variety of both canonical and lesser-known work it features ranges from free-form paintings by Dubuffet and De Kooning and assemblages by Rauschenberg and Fahlstrom to actions and happenings by Beuys and Kaprow. Engaging the fields of history, literature, politics, cultural theory, and art history, this book is a remarkably probing analysis of postwar art from one of the most important voices in art history today.

British artist Michael Landy (b. 1963) is known primarily as an installation artist. His work, along with others associated with the Young British Artists (YBAs), was first catapulted to the world spotlight when it was featured in the notorious Sensation exhibition (1997). His sculptural installations and performances explore political and social themes, such as the nature of consumerism and commodity. In 2009, Landy began a three-year artist residency at the National Gallery, London. He chose to focus his project on representations of saints and their accompanying stories, often gruesome, which were once part of common culture but are now largely unknown. Landy's preoccupation with recycling narratives and repurposing imagery results in Saints Alive, the subject of this book, conceived to include drawings, collages and a series of kinetic, interactive sculptures with moving parts and sounds.

In December 1921, the poet Manuel Maples Arce (1898 — 1981) papered the walls of Mexico City with his manifesto Actual No. 1, sparking the movement Estridentismo (Stridentism). It is inspired by Mexico's rapid modernization following the Mexican Revolution, the Estridentistas attempted to overturn the status quo in Mexican culture, taking inspiration from contemporary European movements and methods of expression. Mexico's Revolutionary Avant-Gardes provides a nuanced account of the early-twentieth-century moment that came to be known as the Mexican Renaissance, featuring an impressive range of artists and writers. Relying on extensive documentary research and previously unpublished archival materials, author Tatiana Flores expands the conventional history of Estridentismo by including its offshoot movement 30-30! and underscoring Mexico's role in the broader development of modernism worldwide. Focusing on the interrelationship between art and literature, she illuminates the complexities of post-revolutionary Mexican art at a time when it was torn between formal innovation and social relevance.

Marc Chagall (1887-1985), one of the foremost modernists of the 20th century, created his unique style by blending richly colored folk art with Cubism, Surrealism, and imagery drawn from the Russian Christian icon tradition. This book explores a significant but neglected period in the artist's career, from the rise of fascism in the 1930s through the end of World War II, which he spent in Paris and then in exile in New York. Chagall's paintings from this time express the horror of the Holocaust as well as hope for the survival of his people and belief in the ultimate triumph of love. Works use many of Chagall's familiar figures — the Artist, the Bride, the Clown, the Wandering Jew — set in unexpected, often wrenching scenes. These contrast with lavish flower paintings that reflect the artist's adoration of his wife, Bella. Less well known are Chagall's canvases showing the Crucifixion of Jesus, often depicted as a Jew, and his rarely seen, dreamlike poems, eleven of which are published here. Susan Tumarkin Goodman and Kenneth E. Silver analyze Chagall's complex iconography and phantasmagorical style, tracing his Jewish, Christian, autobiographical, French, and Russian sources.

The Seagram Building rises up over New York's Park Avenue with perfect lines of bronze and glass. Considered one of the greatest icons of twentieth-century architecture, the building was commissioned by Samuel Bronfman, founder of the Canadian distillery dynasty Seagram. Bronfman's daughter, Phyllis Lambert, was twenty-seven years old when she took over the search for an architect and chose Mies van der Rohe (1886-1969), a pioneering master of modern skin and bones architecture. Mies, who designed the building clad in bronze and amber-tinted glass along with Philip Johnson (1906-2005), emphasized the beauty of structure and fine materials and set the building back from the avenue, creating the building's plaza as an urban oasis. Lambert's choice established her role as a leading architectural patron and singlehandedly changed the face of American urban architecture. Building Seagram is a comprehensive personal and scholarly history of the Seagram Building and its architectural, cultural, and urban legacies. Lambert makes use of previously unpublished personal archives, company correspondence, and photographs to tell an insider's view of the debates, resolutions, and unknown dramas of the building's construction, as well as its crucial role in the history of modern art and architectural patronage.