Indicates the place of painting in the Islamic world, both in relation to those theological circles which condemned the practice of it, and to those persons who, disregarding the prohibitions of religion, consulted their own taste in encouraging it.

This guide provides advice on legal issues such as Copyright and Rights Management when creating and using digital picture resources, technical advice on software and producing good quality images, standards for data documentation, project management, storage and preservation, and innovative creative techniques, including web design and virtual reality.

With Steel Shadows, you don\u2019t have to visit exhibition halls at Carnegie Mellon University or the John Heinz History Center to enjoy Douglas Cooper\u2019s unique, realistic and highly personal images of Pittsburgh. Steel Shadows brings his large charcoal and paper art home to you. Cooper details the inspiration for his artistic vision, as well as the formal properties of his art and how it relates to architecture. The book features double-page spreads of his murals, his essay, and excerpts from Pittsburgh authors telling the stories of the city\u2019s ethnic and eclectic style of neighborhoods, combining details of bridge building and steel making with poetry, historical accounts, and stories of the daily lives of Pittsburghers, all set against the backdrop of the city\u2019s raw industrial landscape.Steel Shadows is a book for students of art, architecture, urban studies, and oral history. Most of all, it is a book to share with friends and family, and a book to rekindle memories of this former steel town.

Initially commissioned to record the progress of Pittsburgh’s Renaissance I, these unforgettable black-and-white photographs of Roy Stryker's Pittsburgh Photographic Library (PPL) capture the city in a state of flux. They reveal a union of opposites—the suited wonderment of the downtown businessman with the easy grace and competence of a shirtless construction worker balanced high over his head; the anonymity and isolation of planned housing with the belief in expansion and renewal; the energy and excitement of a city on the move with the traditions of the established elite; the juxtaposition between the growing optimism about the ability of technology to improve our lives; and the traditional steel and other heavy smokestack industries that still dominated the region. The Renaissance was seen as a way for Pittsburgh to keep abreast of modern urban life and to preserve its economic position, but the rapid development of a white suburban middle class was sapping the very essence of the personalized downtown neighborhoods. These photographers have captured the convergence of destruction and rejuvenation that is the essence of an urban renaissance—all the anxiety and hope of the decade is reflected in these poignant photographs.Constance Schulz's fascinating essay on the story of the PPL, in order to present a full picture of the political and civic goals, achievements, and failings of the project, provides a thorough discussion of the background of the Pittsburgh Photographic Library, putting into perspective the Allegheny Conference's purpose for initiating the PPL, Roy Stryker's own vision and work, as well as those of the photographers who worked for Stryker on the project, and the politics that undermined the full implementation of it. Clark M. Thomas's accompanying narrative offers an eclectic range of facts and fascinating bits of the city's history and neighborhood lore, as well as noting important political and economic episodes. It also provides a glimpse into the often underrepresented lives of minorities and women in the region's development. Anyone moved by the incredible social upheaval and expansion that occurred in cities across the nation in the 1950s following years of depression and war will want to have this collection.

Andrew Carnegie, industrialist and a major American philanthropist, sought to bring world-class art and culture to Pittsburgh. This book looks at how the Carnegie International exhibit came into being in 1895, the early exhibitions, the art, artists, and the public reception to it.

Throughout his life the major Spanish novelist Benito Perez Galdós (1843-1920) took a keen interest in the visual arts. Parts I and II of this book discuss Galdós's art journalism and his artistic contributions to the illustrated edition of the historical novels. But the main focus (part III) is on references to the visual arts and pictorial landscapes, particularly in the serie contemporánea, the contemporary social novels. Such allusions often act as a guide to interpretation; they also relate to the whole philosophical question of how the eye perceives physical reality. Professor Bly offers a fascinating analysis of the various types of interrelationship between visual art and novelistic action; his study contributes greatly to the understanding of aesthetic and moral perception in Galdós's novels, and contains wider implications for nineteenth-century literary and aesthetic theory.