This revised paperback edition of Harry Kernoff: The Little Genius updates the first full-length biography of one of Ireland's leading artists. Born in London, Harry Kernoff moved to Dublin in 1914 and from 1923 until his death in 1974 was a full-time artist when it was neither "profitable nor fashionable". Against the odds, Harry Kernoff has left a more encompassing visual record of the Irish experience during the twentieth century than any contemporary painter through his empathic interest in the ordinary people, and especially rank-and-file Dubliners. Kevin O'Connor provides a revealing look at an extraordinary artist, emphasising Kernoff’s humanity, his art and his prolific output.Artist and writer John Ryan says that Kernoff "issued a continuous flow of paintings of the great, the curious, the famous and the notorious.… No metropolis was ever better served by a graphic recorder: He is our Boswell in paint." The value of Kernoff’s work has risen dramatically in recent years, as has his reputation. This lavishly illustrated paperback edition is a fitting tribute to an exceptional artist. "...fans of Kernoff, old and new, will be delighted to see his work gathered in one place and in such a beautifully produced volume." - Katrina Goldstone, The Irish Times

Accompanying an exhibition at the Frist Art Museum, this lavishly illustrated catalogue is the first major study in English about manuscript illumination, painting, and sculpture in the northern Italian city of Bologna between the years 1200 and 1400. By focusing on Bologna, Europe’s first university city, this publication aims to expand our understanding of art and its purposes in the medieval world.Universities are a medieval invention, and Bologna has the distinction of having the oldest one in Europe. Its origins have been traced to the late 11th century, when masters and students started gathering in the city to study Roman law. The academic setting gave rise to Bologna’s unique artistic culture. Professors enjoyed high social status and were buried in impressive tombs carved with classroom scenes. Most importantly, teachers and students created a tremendous demand for books. By the mid-13th century, the city had become the preeminent center for manuscript production in Italy. Most books were made outside traditional monastic scriptoria, within a revolutionary commercial system involving stationers, parchment makers, scribes, illuminators, and clients. A new style of script, called the littera Bononiensis, distinguished Bolognese books, and the city’s illuminators were celebrated in Dante’s Divine Comedy. The legal textbooks produced in great numbers in the city are remarkable for their heft and size. In addition to illuminations, which include colorful narrative scenes, these manuscripts often contain in their margins the notes, corrections, and doodles of their original owners.The seven essays in this publication – by academics, a conservator, curators, and a museum educator – create a rich context for the nearly seventy works of art in the exhibition, which are drawn primarily from American libraries, museums, and private collections. Many of these works have never been studied in depth or published before. The authors explore medieval Bologna – its porticoed streets, towers, communal buildings, main piazza, and mendicant churches – and how the city became a center for higher learning at the end of the Middle Ages. They describe the way books were made there, including identifying the pigments used by illuminators. The authors also discuss the illustrious foreign artists called to work in the city, most notably Cimabue and Giotto; the devastating impact of the Black Death; and the political resurgence of Bologna at the end of the 14th century that led to the construction of the Basilica of San Petronio, one of the largest churches in the world, in honor of the city’s patron saint.

The Klesch portrait by Titian of Guidobaldo II with his son Francesco Maria represents the duke of Urbino in his full power as supreme commander of papal troops, with his heir next to him. This rare, full-length double portrait has only recently been attributed to Titian after undergoing extensive analyses and restoration, revealing a beautiful painting in non finito manner, with bravura impasto passages entirely characteristic of the master, all of which is illustrated and explained in this new book. Titian provided portraits for the greatest men and women of Europe, Charles V and Philip II of Spain primary among them. For years the Klesch portrait was dismissed as a workshop product – partly because poor condition hid its true quality, but also because it was not believed that Titian could have deigned to create one for Guidobaldo, whose father Guidobaldo della Rovere (1514–1574) and family had a long history of patronizing the artist. Recent research, however, has thrown Guidobaldo's geopolitical significance into relief. He was supreme commander of Venice, the Papal States and then Spain. He sent thousands of soldiers to the major conflicts of his day, particularly the defense of Malta (1565) and the Battle of Lepanto (1571) and his engineers were sought throughout Europe for their ingenuity. In this volume full of new research, Ian Verstegen reveals that Guidobaldo was not peripheral but central to Italian politics and was regarded at several points in history as a key figure who could bring peace or who could influence major conflicts on the Italian peninsula, particularly the War of Siena, and then Pope Paul IV's offensive war against Spain. Anne-Marie Eze gives the first comprehensive examination of the painting's provenance, outlining the portrait's vicissitudes and reception at different moments in its near 500-year history, reexamining received wisdom about its past ownership, and presenting new documentary evidence to expand on and fill gaps in our knowledge of its whereabouts. Finally, Matthew Hayes and Ian Kennedy reflect on the technique, date, recent conservation, and authorship of the painting, proving it to be a masterpiece that only the great Titian could have created.

This publication examines how artist’s portray themselves in self-portraits and how they portray their fellow artists. The artist’s studio, models and milieu (friends, family etc) are also considered.Most of Liss Llewellyn’s projects in the last twenty five years have involved workingdirectly with artists’ studios. Amongst the thousands and thousands of images that until now had lain undisturbed, often hardly seen since the day they were created, some occasionally stand out. Often modest in size and not obviously works of importance; a scrap of paper recording the intense introspective gaze of an artist, or a moment of intimacy suggesting the artist was in love with his subject – be it his or her spouse, model or children.This portrait of an artist is the result of twenty years of collecting and brings together a remarkable group of works which, large or small, minor or major all have in common one quality – the ability to transport the viewer momentarily into the artist’s milieu.

The history of modern design and architecture has seen many attempts to embrace and merge different art forms, and to bring art into the framing of everyday life and the organisation of modern society, in a process understood as total design or total architecture. These attempts were historically based on the romanticist idea of merging all art forms into a uniting and transgressing work of art, mostly associated with – but certainly not limited to – Richard Wagner’s theoretical writings and musical dramas. This utopian dream of the Gesamtkunstwerk, or Total Work of Art, was intended both to bring unity to the people and to bring art into the everyday life of their homes, as well as into factories, cities and even modern media. As a result, the experiments ranged from music, poetry and drama to architecture, design, visual communication and city-planning. These ideas of merging art forms into more immersive and transgressive installations or design interventions to change everyday life are widespread today, but their complex and often problematic roots are mostly ignored. Design and architecture have delivered some of the broadest and most influential experiments with the Gesamtkunstwerk, from garden cities for workers and corporate identity design to the German AEG corporation.

On October 30, 1947, the House Committee on Un-American Activities concluded the first round of hearings on the allege Communist infiltration of the motion picture industry. Hollywood was ordered to "clean its own house," and ten witnesses who had refused to answer questions about their membership in the Screen Writers Guild and the Communist party eventually received contempt citations. By 1950 the Hollywood Ten, as they quickly became known, were serving prison sentences ranging from six months to a year. Since that time the group, which included writers, directors, and a producer, have been either dismissed as industry hacks or eulogized as Cold War martyrs, but never have they been discussed in terms of their profession. Radical Innocence is the first study to focus on the work of the Ten: their short stories, plays, novels, criticism, poems, memoirs, and, of course, their films. Drawing on myriad sources, including archival materials, unpublished manuscripts, black-market scripts, screenplay drafts, letters, and personal interviews, Bernard F. Dick describes the Ten's survival tactics during the blacklisting and analyzes the contribution of these ten individuals no only to film but also to the arts. Radical Innocence captures the personality of each of the Ten - the arrogant Herbert J. Biberman, the witty Ring Lardner, Jr., the patriarchal Samuel Ornitz, the compassionate Adrian Scott, and the feisty Dalton Trumbo.

While there have been monographs on British artist-travellers in the eighteenth and early nineteenth centuries, there has been no equivalent survey of what the writer, Henry Blackburn, described as ‘artistic travel' a hundred years later. By 1900, the ‘Grand Tourist' became a ‘globe-trotter' equipped with a camera, and despite the development of ‘knapsack photography', visual recording by the oldmedia of oil and watercolour on-the-spot sketching remained ever-popular. Kenneth McConkey's exciting new book explores the complex reasons for this in a series of chapters that take the reader from southern Europe to north Africa, the Middle East, India and Japan revealing many artist-travellers whose lives and works are scarcely remembered today. He alerts us to a generation of painters, trained in academies and artists' colonies in Europe that acted as crèches for those would go on to explore life and landscape further afi eld. The seeds of wanderlust were sown in student years in places where tuition was conducted in French or German, and models were often Spanish, Italian, or North African. At fi rst the countries of western Europe were explored afresh and cities like Tangier became artists' haunts. Training that prioritized plein air naturalism led to the common belief that a well-schooled young painter should be capable of working anywhere, and in any circumstances. At the height of British Imperial power, and facilitated by engineering and technological advance, the burgeoning tourism and travel industry rippled into the production of specialist goods and services that included a dedicated publishing sector. Essential to this phenomenon, the artist-traveller was often commissioned by London dealers to supply themed exhibitions that coincided with contracts for colour-illustrated books recording those exotic parts of the world that were newly available to the tourist, traveller, explorer, emigrant, or colonial civil servant. These works were not, however, value-neutral, and in some instances, they directly address Orientalism, Imperialism, and the Post-Colonial, in pictures that hybridize, or mimic indigenous ways of life. Behind each there is a range of interesting questions. Does experience live up to expectation? Is the street more desirable than the ancient ruin or sacred site? How were older ideas of the ‘picturesque' reborn in an age when ‘Grand Tours' once confi ned to Italy, now encompassed the globe? McConkey's widerangingsurvey hopes to address some of these issues. This richly illustrated book explores key sites visited by artist-travellers and investigates artists including Frank Brangwyn, Mary Cameron, Alfred East, John Lavery, Arthur Melville, Mortimer Menpes, as well as other under-researched British artists. Drawing the strands together, it redefi nes the picturesque, by considering issues of visualization and verisimilitude, dissemination and aesthetic value.

This groundbreaking new book presents 60 projects - past and present, real and imagined - of 'anarchist' architecture. From junk playgrounds to Extinction Rebellion in the UK, from Christiania to the Calais Jungle in Europe, and from Dignity Village to Slab City in the USA - all are motivated by the core values of autonomy, voluntary association, mutual aid and self-organisation. Taken as a whole, they are meant as an inspiration to build less uniformly, more inclusively and more freely. Architecture and Anarchism documents and illustrates 60 projects, past and present, that key into a libertarian ethos and desire for diverse self-organised ways of building. They are what this book calls an 'anarchist' architecture, that is, forms of design and building that embrace the core values of traditional anarchist political theory since its divergence from the mainstream of socialist politics in the 19th century. These are autonomy, voluntary association, mutual aid, and self-organisation through direct democracy. As the book shows, there are a vast range of architectural projects that can been seen to refl ect some or all of these values, whether they are acknowledged as specifically anarchist or otherwise. Anarchist values are evident in projects that grow out of romantic notions of escape - from isolated cabins to intentional communities. Yet, in contrast, they also manifest in direct action - occupations or protests that produce micro-countercommunities. Artists also produce anarchist architecture - intimations of much freer forms of building cut loose from the demands of moneyed clients; so do architects and planners who want to involve users in a process normally restricted to an elite few. Others also imagine new social realities through speculative proposals. Finally, building without authority is, for some, a necessity - the thousands of migrants denied their right to become citizens, even as they have to live somewhere; or the unhoused of otherwise affl uent cities forced to build improvised homes for themselves. The result is to significantly broaden existing ideas about what might constitute anarchism in architecture and also to argue strongly for its nurturing in the built environment. Understood in this way, anarchism off ers a powerful way of reconceptualising architecture as an emancipatory, inclusive, ecological and egalitarian practice.

The inside-out of dancer/Contact Quarterly editor Nancy Stark Smith's life as seen through the kaleidoscope of her thirty-six year involvement with Contact Improvisation. The book includes Q&As between the authors tracing the history of the dance form; photos of dancing and living; life stories; anecdotes from friends, colleagues, and family; and a description of Stark Smith's Underscore. The Underscore is a framework for practicing and researching dance improvisation that Stark Smith has been developing since the early 1990s. It is a score that guides dancers through a series of "changing states" from solo deepening/releasing and sensitizing to gravity and support, through group circulation and interaction, Contact Improvisation engagements, opening out to full group improvisation with compositional awareness, and back to rest and reflection.

Tracing a period in her life from the 1969 Woodstock Festival through the following years living on the land, this singular dance artist's direct and poetic writings bring a turbulent transitional era to life. Arriving in New York in the early 60's from California, she brought with her a series of pieces that proved to be a serious influence on the development of "postmodern" dance in years to come. Her "dance-constructions" were based on a concern with bodies in action, the movement not being stylized or presented for its visual line but rather as a physical fact. Combining drawings, "dance reports" (short descriptions of events whose movement made a deep impression on the author's memory), and documentary materials such as scores, descriptions, letters to colleagues, and photographic records of performances, Forti's eye toward creating idioms for exploring natural forms and behaviors is evident throughout.Simone Forti shifted from painting in 1955 to study dance with Anna Halprin and went on to study composition with Robert Dunn at the Merce Cunningham Studio leading to her association with Judson Dance Theater in the '60s. Her work spans from early minimalist dance-constructions, through animal movement studies, news animations, land portraits, and currently, Logomotion, an improvisational form based on the resonance between movement and the spoken word. She performs and teaches worldwide.

The distinguished private collection, known as the Griffin Collection, comprises in its entirety examples of every category of ring – signet, devotional, memorial, decorative – dating from antiquity to modern times. This catalogue, focusing on about 150 rings in the collection, is concerned with perhaps the most personal rings of all, those associated with love and marriage. Some can be recognised by the figure of Cupid armed with his quiver of golden arrows, others by the symbols of heart and clasped hands. However, the majority are gold bands, sometimes plain and occasionally decorated, that are inscribed with mottoes in English expressing the admiration, affection, and pledges of fidelity which bind humankind together. Known as posies or little poems because they often rhyme, these mottoes were current on rings from the late Middle Ages until the middle of the 19 th century. Through these rings, Ms. Scarisbrick engagingly tells the long story of the relations between the sexes from the fifteenth century, when the cult of courtly love was superseded by an idealization of monogamous marriage, to an end in the twentieth century as a result of a different moral outlook. Scholars would agree that the Griffin Collection of posy rings makes an important contribution to English social history and connects with the national literature from Chaucer to Byron. Small though they are in scale, their significance was appreciated by Victorian collectors, and they are well represented in the leading museums, notably the Victoria and Albert Museum, the British Museum, and the Museum of London, as well as the Ashmolean and Fitzwilliam museums in Oxford and Cambridge. Yet none of these institutions have ever published fully illustrated catalogues of their posy rings, nor has there been an up-to-date study since the seminal monograph by Joan Evans entitled English Posies and Posy rings (1931). In this respect, the catalogue of the Griffin Collection, which illustrates the rings and sets them in context, using wide-ranging literary and historical sources, breaks new ground. It also contains posy rings with inscriptions hitherto unrecorded and others with identified maker’s marks.

Inside Motion is a comprehensive study of anatomical imagery based on the Todd-Clark body alignment work as developed by dancer and teacher John Rolland. Carefully organized as a learning manual, it comprises a complete description of the skeletal system. The basic goal of the work is the improvement of one's physical balance through a creative learning process that integrates mental and physical capacities. Students are guided to both think and feel their way through the body and, in the process, release layers of hidden kinesthetic information.

Pioneering movement educator Bonnie Bainbridge Cohen's innovative approach to embodiment, movement analysis and reeducation, Body-Mind Centering, is the subject of this book of collected essays, interviews, and exercises written for Contact Quarterly dance journal between 1980 and 2009. Drawing from both Western and Eastern scientific knowledge, BMC is an experiential study of the body systems and the evolutionary developmental patterns that underlie human movement. Her unique viewpoint is made evident in twenty-one chapters addressing specific systems, including the organs, neuroendocrine system, fluids, developmental movement, reflexes, perceptual system, embryology, cellular, and autonomic nervous system. Over the last thirty years, BMC has engaged the interest of a wide range of people involved in dance, performing arts, athletics, therapy, healthcare, child development, meditation, and other body/mind disciplines. The third edition includes sixteen additional pages with new articles on inspiration, expiration, and dancing through the transitional fluid, a subject index and List of Explorations.

From the introduction of woodblock printing in China to the development of copper-plate engraving in Europe, the print medium has been used around the world to circulate knowledge. Ceramic artists across time and cultures have adapted these graphic sources as painted or transfer-printed images applied onto glazed or unglazed surfaces to express political and social issues including propaganda, self-promotion, piety, gender, national and regional identities. Long before photography, printers also included pots in engravings or other two-dimensional techniques which have broadened scholarship and encouraged debate. Pots, Prints and Politics examines how European and Asian ceramics traditionally associated with the domestic sphere have been used by potters to challenge convention and tackle serious issues from the 14th to the 20th century. Using the British Museum’s world-renowned ceramics and prints collections as a base, the authors have challenged and interrogated a variety of ceramic objects – from teapots to chamber pots – to discover new meanings that are as relevant today as they were when they were first conceived.

The first definitive biography of tragicomic sex symbol Jayne Mansfield, one of the most colorful and eccentric movie stars of the 1950s-60s. The book examines both her life and her career, detailing her movie, TV and stage work, as well as her drive to become an old-fashioned movie star at the end of the big-studio era. Jayne Mansfield: The Girl Couldn't Help It follows Jayne from her birth in 1933 through her early days as a starlet, her sudden fame as a Broadway star, and her too-brief years as 20th Century-Fox's threat to Marilyn Monroe. After three hit films, showing what a talented actress she was, Jayne found herself cut loose and floundering, in ever-cheaper and worse films. Jayne's private life will be examined as well: her expertise as a publicity magnet, her relationship with the press and her fans; her three marriages and many affairs, and her well-meaning but ill-equipped parenting skills. The rumors around her death will be addressed, via nearly 100 pages of police reports. Among the people interviewed for this book are her third husband, her lover shortly before Mariska Hargitay was born (the only interview he has ever given about Jayne), the man who published her 1963 memoirs, the inventor of the Jayne Mansfield Hot Water Bottle, and Loni Anderson, who portrayed Jayne in a 1980 TV-movie. Including 70 photos, The Girl Couldn't Help It will finally set straight many misconceptions about Jayne Mansfield, and will provide a fair and balanced, sympathetic but clear-eyed portrait of one of show business's most bizarre and endearing icons.

This book focuses on interactions between the Islamic world and other regions from the late eighth to the twenty-first centuries. Some chapters consider the complex relationship between Islam and the cultures of Late Antiquity in the Middle East and Mediterranean basin. The reprinted chapters in this volume have been revised and updated. Topics include relief-moulded pottery production in Raqqa, the construction of palaces in Samarra, portraiture in Arabic manuscript painting, written descriptions of patterned marble in medieval Islam, images of Muslim rulers in early Modern printed books, and the broadcast of the medical examination of Saddam Hussein. Also included are a critical introduction that considers the challenges involved in the study of cultural interactions between Islamic and non-Islamic regions, a cumulative bibliography, and a previously unpublished study of recently discovered photographs, drawings, and writings relating to the Middle East made by soldiers during and after World War I.