Nathaniel Silver, William and Lia Poorvu Curator of the Collection, tells the acquisition story behind The Rape of Europa (1562), one of the most infl uential and iconic Renaissance paintings in America. The purchase of Titian’s masterpiece from an English aristocrat marked the beginning of a new phase in Gardner’s business relationship with scholar and art dealer Bernard Berenson and made her the envy of every art collector in the United States. While Henry James nicknamed Isabella "daughter of Titian" and all of Boston fell at her feet, European contemporaries took note of their rapidly disappearing national patrimony. The same celebrity that would make Europa the crown jewel of Boston's newest museum fueled the widely publicized debate over England’s artistic heritage. "American despoilers" became the rallying cry of British museum directors, curators, and scholars who cast their country as the victim of New World rapacity, and Isabella its most brilliant villain. This volume further explores Europa in Titian’s own time. Here the legendary painter laid claim to the power of poetic invention, creating the last of the six mythological canvases to reach Philip II in three years between 1559 and 1562. Described by the artist as poesie (literally "painted poetries"), these celebrated pictures reimagined stories from antiquity and explored the epic consequences of encountersbetween gods and mortals. Titian’s staggeringly original interpretations solicited comparisons with Ovid’s poetry and ancient art. Completed over more than a decade, they fulfi lled part of a larger agreement to furnish the king with paintings both secular – and highly sensual in character – as well as altarpieces of religious subjects. Published here for the first time, dramatically enlarged details of the composition demonstrate Titian’s deft touch and dazzlingly technical accomplishment. These bravura passages recently revealed by the painting’s comprehensive cleaning – the first since its arrival in America – are accompanied by commentary from the conservator,Gianfranco Pocobene, who returned Europa to its original glory.

15th century Italian painting mastered the art of painting light in the world. As Leon Battista Alberti wrote in On Painting (1435), "light has the power to vary colour", hence a rich palette of pigments and how to mix colours was necessary to capture every nuance. Countless recipes are provided by the anonymous author of "Secrets for Colours" (c. 1450), called the Bolognese Manuscript, intended for use in fresco and in oil on panel, accompanied by instructions on how to make varnishes for paintings.

History of Cinema Without Names is an editorial project which gathers research papers presented at Gorizia Conference, Italy. It promotes a new research perspective on the notions of film authorship, style, and genre, with the aim of re-articulating their theoretical definition.

While television has always played a role in recording and curating history, shaping cultural memory, and influencing public sentiment, the changing nature of the medium in the post-network era finds viewers experiencing and participating in this process in new ways. They skim through commercials, live tweet press conferences and award shows, and tune into reality shows to escape reality. This new era, defined by the heightened anxiety and fear ushered in by 9/11, has been documented by our media consumption, production, and reaction. In Small Screen, Big Feels, Melissa Ames asserts that TV has been instrumental in cultivating a shared memory of emotionally charged events unfolding in the United States since September 11, 2001. She analyzes specific shows and genres to illustrate the ways in which cultural fears are embedded into our entertainment in series such as The Walking Dead and Lost or critiqued through programs like The Daily Show. In the final section of the book, Ames provides three audience studies: analyses of live tweets from Shonda Rhimes's drama, How to Get Away with Murder (2010-2020); ABC's reality franchises, The Bachelor (2002-present) and The Bachelorette (2003-present); and political coverage of the 2016 Presidential Debates. Though film has been closely studied through the lens of affect theory, little research has been done to apply the same methods to television. Engaging an impressively wide range of texts, genres, media, and formats, Ames offers a trenchant analysis of how televisual programming in the United States responded to and reinforced a cultural climate grounded in fear and anxiety.

Hugh Finney was a painter, draughtsman and teacher who trained initially at Bromley School of Art, where he attended evening classes from 1915, and then at Beckenham School of Art to where he won a trade scholarship in 1918. He studied painting with Amy Katherine Browning and etching with Eric Gill. Around 1927 he won a scholarship to the Royal College of Art, where he studied under William Rothenstein. Horton, Houthuesen, Ososki and Freedman were amongst his friends at the college. In 1929 after graduation he took up a travelling scholarship to Rome returning to teach part-time at Chelsea School of Art under Percy Jowett and later Harold Sandys Williamson. From 1927-1934 he exhibited at the NEAC. In 1935 his painting Mother and Child was acquired by Carlisle Art Gallery. During WW2 Finney worked for the light rescue service of the Civil Defense. After the war he taught part time under Anthony Betts at Reading University and was in charge of life drawing there when he retired in 1970. Although he was reclusive and reluctant to show his work he did exhibit at the RA Summer exhibition (in 1950 and 1954) and the Portrait Society and at The Paris Salon. A large solo exhibition took place at the University of Oxford’s Institute of Education in 1964.

Ben Nicholson: Distant Planes provides a succinct and insightful introduction to a little-known period of the artist's career: his years in Switzerland. Nicholson is one of the great British modernists of the twentieth century and this publication includes contributions from the leading specialists in the field, with original essays by Dr Lee Beard, director of the Ben Nicholson catalogue raisonné project, Peter Khoroche, author of Ben Nicholson: Drawings and Painted Reliefs (2002), and Chris Stephens, Director of the Holburne Museum, Bath. In 1958, at the height of his creative powers and buoyed by recent accolades at the Venice Biennale and elsewhere, Nicholson left behind the coastal wilds of Cornwall for the serene beauty of Lake Maggiore. With a seemingly inexhaustible index of formal ideas, in Switzerland he returned with renewed vigour to the carved relief. Piano Nobile's publication is richly illustrated and includes several major reliefs which are presented alongside landscape drawings, both of which explore a poetic sense of place that was crucial to Nicholson's work during the period. It also includes previously unpublished material relating to Nicholson and his Swiss period.

The 2019 volume of Ceramics in America features exciting new discoveries in the field of American ceramics studies, from an early example of Chinese porcelain found in the New World to previously undocumented green-glazed earthenware made in early-nineteenth-century Philadelphia. New analytic information about the manufacture of hard-paste porcelain, also in the Philadelphia context, will be of special interest to students of American porcelain production. Of special note, reconstructive drawings of two of America’s most important potteries and their kilns are illustrated and discussed: the William Rogers Pottery of Yorktown, Virginia (ca. 1720-1745), and the massive stoneware kilns of Abner Landrum’s Pottersville factory in Edgefield, South Carolina (ca. 1818-1840). Other articles examine topics of American stoneware, including the distinctive eighteenth-century stoneware of Boston and Charlestown, Massachusetts. The journal concludes with a beautifully illustrated two-part presentation on clay tobacco pipes made in the Chesapeake region of America between 1640 and 1660, highlighting the pipe maker’s art and the multicultural circumstance of their manufacture and use.

Accompanying an exhibition at the Staatliche Kunstsammlungen Dresden, this publication presents the glass swallow works Perched, created by the artist Felekşan Onar. While drawing on sources from her personal history as well as collective memory, Felekşan Onar’s works in glass deal with notions of identity, constructed narratives, historical relations and impacts of politics on society. In her recent project Perched, her story-telling in glass reflects on the Syrian refugee situation. Triggered by witnessing the helpless refugees strolling around the streets of Istanbul, after being forced to leave their homelands, Perched has been exhibited in the Pergamon Museum, Berlin, the New Jersey Visual Arts Center and the Victoria& Albert Museum, London. The work was interpreted as “a visceral expression of the fact that in spite of differences of religion, culture, and individual histories, what we all want most is to be in the place we call home,” by the art critic Lisa Morrow.A reading of Louis de Berniéres’ novel Birds Without Wings was an inspiration for Onar to create the series. Glass works, inspired by a book, create its own history over time and turn into a book again. This book marks the most comprehensive publication on Perched to date. The result here is a complementary structure addressing the aesthetic and political concepts inherent in Felekşan Onar’s art. Contiguity and fragility are the core of this project and provides the form for this book. Newly commissioned essays initiate sections that engage particular aspects of Onar’s work. Renowned author Louis de Berniéres contributes a short story; Prof. Dr. Stefan Weber, Mariam Rosser-Owen and Stefanie Bach propose a reading of Perched through the exhibitions in the Pergamon Museum, the Victoria& Albert Museum and the Staatliche Kunstsammlungen Dresden; and Nadania Idriss questions how is art supposed to foster a culture of peace and muses on being perched. Producing glass art, to use Onar’s own words, “not only expresses my past and present, but also my anxieties and expectations for future. Through glass, I speak, breathe and live.” This is the story of birds standing together in different places with their various colors and holding a vital crisis in their silence, breath and life.

Accompanying an exhibition at the Staatliche Kunstsammlungen Dresden, this publication presents the glass swallow works Perched, created by the artist Felekşan Onar. While drawing on sources from her personal history as well as collective memory, Felekşan Onar’s works in glass deal with notions of identity, constructed narratives, historical relations and impacts of politics on society. In her recent project Perched, her story-telling in glass reflects on the Syrian refugee situation. Triggered by witnessing the helpless refugees strolling around the streets of Istanbul, after being forced to leave their homelands, Perched has been exhibited in the Pergamon Museum, Berlin, the New Jersey Visual Arts Center and the Victoria& Albert Museum, London. The work was interpreted as “a visceral expression of the fact that in spite of differences of religion, culture, and individual histories, what we all want most is to be in the place we call home,” by the art critic Lisa Morrow.A reading of Louis de Berniéres’ novel Birds Without Wings was an inspiration for Onar to create the series. Glass works, inspired by a book, create its own history over time and turn into a book again. This book marks the most comprehensive publication on Perched to date. The result here is a complementary structure addressing the aesthetic and political concepts inherent in Felekşan Onar’s art. Contiguity and fragility are the core of this project and provides the form for this book. Newly commissioned essays initiate sections that engage particular aspects of Onar’s work. Renowned author Louis de Berniéres contributes a short story; Prof. Dr. Stefan Weber, Mariam Rosser-Owen and Stefanie Bach propose a reading of Perched through the exhibitions in the Pergamon Museum, the Victoria& Albert Museum and the Staatliche Kunstsammlungen Dresden; and Nadania Idriss questions how is art supposed to foster a culture of peace and muses on being perched. Producing glass art, to use Onar’s own words, “not only expresses my past and present, but also my anxieties and expectations for future. Through glass, I speak, breathe and live.” This is the story of birds standing together in different places with their various colors and holding a vital crisis in their silence, breath and life.

On August 3, 2019, a mass shooting occurred at Walmart Supercenter #512 in El Paso, Texas. A twenty-one-year-old white supremacist from El Paso targeted “Mexicans” and shot and killed twenty-two people - thirteen Americans, eight Mexicans from nearby Ciudad Juarez, and one German - and injured twenty-seven others. It was the seventh deadliest mass shooting in the United States since 1949 and the deadliest attack on Hispanic and Latina/o Americans in U. S. history. This book and the traveling exhibition that accompanies it are meant to honor the memory of those twenty-two beautiful, innocent beings who lost their lives in El Paso on that summer day and to help heal not only the twenty-seven others who were injured, but the countless others in America, New Zealand, Norway, and the world who suffer and have suffered from hate in whatever form it takes. All royalties earned from the sale of the chapbook and all special collections received at the exhibit are being donated to the families of those who died and were injured on that fateful day in El Paso.

In 2020, the Dresden Kupferstich-Kabinett celebrates its 300th anniversary.Founded in 1720 by Augustus the Strong as a museum specializing in works onpaper, the collection – now with over half a million works, from the Middle Agesto the present day – has always acquired contemporary art alongside recognisedmasterpieces.The collection – which includes exceptional works by Jan van Eyck, Dürer, Verrocchio,Grünewald, Cranach, Holbein, Rembrandt, Caspar David Friedrich, Ludwig Richter,Toulouse Lautrec, Mondrian, Hermann Glöckner, Gerhard Altenbourg, A. R. Penck,Georg Baselitz and Evelyn Richter – began in the 18th century with drawings, miniaturesand prints, before photography was added in 1898 as the promising future means ofreproduction.The people in charge of the collection always had a keen eye for the art of theircontemporaries and often demonstrated particular foresight in their acquisitions.Many of the works that were contemporary and still unknown at the time of theiracquisition are now considered special treasures and rank equally with those that hadbeen added to the collection as masterpieces. Exemplary are freshly printed etchingsby Giovanni Battista Piranesi, which were little known at the time, and were bought inthe 18th century. And towards the end of the 19th century, the then director Max Lehrspromoted artists directly, such as Max Klinger and Käthe Kollwitz.Today, the Kupferstich-Kabinett occupies an outstanding international positionthanks to the high quality and abundance of works. However, the collection is oftenhidden from the public. Works on paper in particular require special protection and,due to their fragility and extreme sensitivity to light, they can only rarely leave thesafety of the depot. The anniversary gives reason to air many masterpieces of thecollection, and offers the opportunity to look into both the past and into the future,and to anchor the Kupferstich-Kabinett with its seemingly inexhaustible holdings as alively, innovative and democratic place in the public consciousness – as a place wherecreativity and knowledge, critical thinking and aesthetic pleasure can be experienced.The exhibition of 84 masterpieces, which opens in Dresden in June 2020, will thentravel to New York in October 2020, where they will be presented in the prominent,international context of The Morgan Library & Museum.

Poet John Wakeman told The Irish Times that he thought "it would be exciting to start a poetry magazine out of the wilds of West Cork in Ireland." Within a few years THE SHOp became one of Ireland’s most highly-regarded poetry magazines, not only for its contents but for its looks. "Unquestionably the most beautiful poetry magazine now in existence," Bernard O’Donoghue said. Seamus Heaney described himself as a "confirmed SHOp-lifter." The title was inspired by W.B. Yeats' "foul rag and bone shop of the heart." The idiosyncratic lower-case 'p' was a whim of the early magazine designer, Joakim Säflund. Over the period between 1999 and 2014, THE SHOp published the work of internationally recognised poets such as Seamus Heaney, Paul Muldoon, Medbh McGuckian, Brendan Kennelly, Paula Meehan, Theo Dorgan, John F. Deane, Derek Mahon and John Montague. Significantly, it also provided a welcome and much needed space for emerging talents. Gradually, international poets began to contribute work. Each issue contained at least one poem in Irish, by poets such as Gabriel Rosenstock and Michael Davitt, with a translation. When John died in 2018 the poetry editor of The Irish Times, Gerard Smyth, wrote, "John Wakeman and his wife Hilary created a communal home for Irish poetry." The President of the Irish Republic, Michael D. Higgins, himself a poet, sent his condolences to Hilary and her family. One of the first women rectors of the Church of Ireland, Hilary had retired in 2001 and became co-editor and designer of THE SHOp. When Hilary Wakeman suggested producing an anthology to celebrate THE SHOp's legacy, it was met with such enthusiasm she knew she had to make it happen. So with the help of her co-editor, the poet Hilary Elfick, together they identified 285 poems from the 840 poets published in THE SHOp during those 15 years. The result is this collection of some of the finest Irish and international poetry ever assembled in one volume. The former Director of Poetry Ireland, Theo Dorgan, stated that "THE SHOp is a part of Irish literary history. That John and Hilary managed to produce such a rich and eclectic journal … from the side of a hill in West Cork was a source of wonder to us all."

Genre Publics is a cultural history showing how new notions of 'the local' were produced in context of the Indonesian 'local music boom' of the late 1990s. Drawing on industry records and interviews, media scholar Emma Baulch traces the institutional and technological conditions that enabled the boom, and their links with the expansion of consumerism in Asia, and the specific context of Indonesian democratization. Baulch shows how this music helped reshape distinct Indonesian senses of the modern, especially as 'Asia' plays an ever more influential role in defining what it means to be modern.

Scotland-born, London-based artist Caroline Walker is celebrated for her paintings exploring the lives of women, from those living luxury lifestyles to those fleeing oppression. In this publication, which was produced to accompany Walker’s first exhibition with Ingleby Gallery, Edinburgh, in autumn 2020, the artist turns her attention closer to home, presenting a series of paintings in which the focus is the artist’s own mother, Janet, as she goes about her daily tasks: cooking, cleaning, tidying and tending the garden of the Fife home where the artist spent her childhood. The publication features a newly commissioned essay and an interview with the artist by critic and author Hettie Judah. The essay opens by comparing Walker’s works to the Dutch Golden Age, encouraging consideration of everyday domestic scenes. Judah then leads the reader through Walker’s latest series of works, exploring the daily routines and household chores that have filled Walker’s mother’s days for the past forty years, along with the artist’s treatment of these activities. Judah deftly locates this latest body of work within Walker’s wider practice, opening up discussion of women at work in different industries and notions of invisibility. She asserts: ‘While "Janet" extends Walker’s long-held interest in women’s work, the series is also a loving undertaking. The artist offers us her mother with great pride, both in particular, and on behalf of other mothers overlooked and working out of sight.’ The interview offers further insight into Walker’s thoughts in relation to the "Janet" series, and to the working processes behind it.The publication features around eighty illustrations of the preparatory studies and paintings that comprise this new body of work. It has been designed by Joanna Deans, Identity, with photography by Peter Mallet. The publication was produced by Ingleby, Edinburgh, and printed by Die Keure, Bruges. It was co-published in 2020 by Ingleby and Anomie Publishing, London, in an edition of 1500 copies.Caroline Walker was born in Dunfermline, Scotland, in 1982. She attended Glasgow School of Art from 2000-04, before completing her MA at the Royal College of Art in 2009. Recent and forthcoming exhibitions include Kettle’s Yard, Cambridge, the Midlands Arts Centre (MAC), Birmingham, and participation in the ninth edition of the British Art Show. She is represented in a number of public collections including the National Museum of Wales, Cardiff, the UK Government Art Collection, London, Kistefos Museum, Jevnaker, Norway, and Museum Voorlinden & Kunstmuseum den Haag, in the Netherlands.Hettie Judah is chief art critic of the British daily newspaper The i, a regular contributor to The Guardian, The New York Times, Frieze, Art Quarterly, Numéro Art and The Art Newspaper, and a contributing editor to The Plant. Recent publications include a short biography of Frida Kahlo (Laurence King, 2020) and Art London (ACC Art Books, 2019).

The Mediterranean… Knowing that man has been traveling these waters for thousands of years, it’s easy to imagine that the sea no longer holds any secrets. Knowing that it has been conquered and mistreated, easy to imagine that it’s also been devastated. And yet, theMediterranean remains a thriving body of water still waiting to be fully explored. Over its depths lie extensive and abundant territories that mankind has barely gotten to know: the coral reefs. These biodiversity ‘hotspots’ whose beauty rivals that of the reefs lie in the "twilight zone" between 60 and 120m (196 and 393 ft) below the surface, where less than 1% of light actually penetrates. Study, illustrate and expose the unfamiliar part of the teeming undersea life of the Mediterranean: such is the challenge undertaken by Laurent Ballesta, famous photographer, biologist and leader of expeditions.Mediterranean Planet forms a sequel to Laurent Ballesta's latest works: Secrets d’Océans (Oceans' Secrets), Adélie Terre& Mer (Adélie Earth & Sea) and 700 requins dans la nuit (700 Sharks in the Dead of Night). It represents the accomplishment of his personal endeavors during the eponymous July 2019 expedition, while also providing closure to the more comprehensive effort underway in the Mediterranean. This publication is thus c from 2010 through the present day. Accompanied by minimal textual content, the photographs of rare creatures never before illustrated exhibiting unusual behavior tell the story with each page turned of natural history and lived history. From the extraordinary biodiversity of the coral reefs to the seascapes far beneath the surface, Laurent Ballesta has embarked on an excursion into these otherworldly ecosystems that actually exist on Earth and make up the Mediterranean Planet.This book also conforms with the longstanding tradition of works that pay tribute to the marine world by offering unique insights into an ecosystem that has not yet unveiled all its secrets. After several deep-sea diving expeditions spanning the globe under the "Gombessa" flag, the Gombessa V "Mediterranean Planet" campaign is Laurent's last at the helm. A World First, this expedition meant Laurent Ballesta and three other divers would cohabitate for 28 days inside a 5-m2 pressurized module designed for both saturation diving and deep sport diving, from Marseille to Bandol, Carqueiranne to Saint-Tropez, Sainte-Maxime to Antibes, and finally from Antibes to Monaco.

In 2018, the VII Foundation asked more than a dozen renowned reporters and photojournalists to revisit countries with which they had become achingly familiar during times of brutal conflict. The task was to see peace through the prism of their journalistic experience; to survey familiar towns and villages; to reconnect with women, men, soldiers, civilians, statesmen, and students who had survived the conflict or grown up in the postwar society; to discover what the lived experience of “peace” feels like. To augment this reportage, the VII Foundation sought input from academics and peacemakers. And they invited citizens of those countries to give their very personal narratives, in their own voices. Hard edges were not softened nor unpalatable impressions deleted. They wanted to show the truth as seen and experienced by those that lived and those that reported on seemingly intractable civil wars in Bosnia and Herzegovina Cambodia, Colombia, Lebanon, Northern Ireland, and Rwanda. The result is Imagine: Reflections on Peace - a curation of searing images and trenchant essays that show both micro and macro views of peace, with its uneven degrees of economic success, political stability, and social harmony. In this stunning collection, worldrenown journalists and authors take us into societies that have suffered searing conflict - and survived. Photographic essays make the stakes during war and peace grippingly palpable. Compelling backstories about negotiations, tales of survival, and accounts of the search for inner peace make the big picture personal. Imagine offers a rare glimpse into the unvarnished story of peace, a window into what it takes for societies and individuals to move forward after unspeakable brutality.