The Crocker Art Museum has one of the finest and earliest German drawings collections in the United States. Featuring artists such as Johann Wolfgang Baumgartner, Anton Raphael Mengs and Johann Heinrich Wilhelm Tischbein, The Splendor of Germany examines the major developments in German draughtsmanship over the course of the eighteenth century. Published to coincide with the collection’s 150th anniversary. In the 21st century, the collecting and study of 18th-century German drawings has become a major focus for American museums. One of the finest collections of them, however, has been in California for 150 years. The superb drawings at the Crocker Art Museum, from a Baroque altarpiece design by Johann Georg Bergmüller to a Neoclassical mythology by Johann Heinrich Wilhelm Tischbein, provide a panorama of German draughtsmen and draughtsmanship throughout the century. Many of the drawings are remarkable for their modernity. A self-portrait by Johann Gottlieb Prestel bypasses convention to achieve a direct, unmediated likeness. Well-placed slashes with brush and black ink define the features below his peruke outlined in black chalk. Other drawings encapsulate specific developments and styles, such as Johann Wolfgang Baumgartner’s Lazarus and the Rich Man, which shows the florid dynamism of the Augsburg Rococo. A full range of eighteenth-century German artists are represented here, from the satirizing moralists Johann Elias Ridinger and Daniel Chodowiecki to the Classicist and friend of the art theorist Johann Joachim Winkelmann, Anton Raphael Mengs. Landscape artists are especially well represented, such as the key figure Johann Georg Wille, printmaker to the French king Louis XV, and generations of artists he taught and influenced all the way to the early Romantic landscapists. The exhibition and catalogue gather together a variety of dynamic and sensitive portraits, charming scenes of daily life, and often humorous moralizing subjects, as well as narratives, both religious and mythological, from the late Baroque to Neoclassicism. In the realm of landscape, the depth of the collection allows the exhibition to trace schools and influences—in addition to Wille’s mentioned above—even in families such as that of Prestel, whose wife and daughter were both landscapists. It also allows it to demonstrate the great variety of works by single artists such as Christoph Nathe, represented by four landscapes in four different genres including a splendid scene near Görlitz. Some artists, in fact, work in several genres as in the case of Johann Christian Klengel, whose works include the scene of a family by candlelight, a farmstead landscape, and a sketchbook that he carried through the countryside to record picturesque views.This is a rare opportunity for the public and for drawings enthusiasts. Two-thirds of the drawings in the exhibition have not been shown before; most of the exceptions have not been seen since 1989. Because of the drawings’ 150-year history of limited exposure, the state of preservation of the collection is exceptional, as is the condition of the new acquisitions included in the exhibition.

Summer in Paris. British art student Adam King undertakes an internship at a contemporary art museum. An encounter with an unusual collective of young people looking to change the world, along with a strange revelation in front of The Mona Lisa, sees him facing much more than his own coming-of-age. Against a backdrop of late capitalism, media and surveillance, 'The Eleven Associates of Alma-Marceau' not only asks questions about how people’s images, words and lives are given a platform, used and manipulated in the digital era, but alsoinvites readers to question the very nature of what they perceive. Within this modern-day story about painting, visual communication and how creative ideas are responded to by society, Leonardo, of course, is still ahead of the game, more than five hundred years after his death... ********** The Old School Writers Circle is a group of friends who periodically meet up to discuss art, writing and books. The current members studied at the same school in Birmingham, UK, in the late 1980s and early 1990s, and now live in various locations around England. Famous literary alumni of the school include, somewhat eclectically, J.R.R. Tolkien, Lee Child and Jonathan Coe, all of whom are on the circle’s ever-growing list of influences. Projects can be serious as well as playful, confronting unusual and challenging themes through stories that do not necessarily fit squarely within conventional genres. For their debut publication, 'The Eleven Associates of Alma-Marceau', the starting point was a shared love of Paris and The Louvre – inspired in part by numerous trips across the Channel by members of the circle over the past twenty-five years. The other driving force was the long-standing interest of circle member Matt Price in esoterica and unusual optical phenomena in the history of painting – ideas explored and brought together by the circle in the form of this curious, engaging and thought-provoking novel. 'The smart move here is to pursue meaning in painting through the medium of fiction' ––Nicholas Alfrey, Art Historian

Art Deco by the Sea is a major new book and exhibition examining British coastal culture between the First and Second World Wars. Beautifully illustrated, the book will trace how the British seaside changed during a new age of mass tourism. It will examine how coastal resorts developed and how the networks of transport that serviced them - by road, rail and sea - were modernised. The book will celebrate iconic examples of Art Deco architecture, from hotels and apartment blocks to piers, cinemas and sea fronts and will show how Art Deco became the key style for pleasure and entertainment. It will also feature seaside companies including Poole Pottery, E.K. Cole Ltd and Crysede known for their striking modern designs. The book will also explore how the seaside changed during the 1920s and 30s with the advent of the heathy body culture, when sunbathing, swimming and a host of other outdoor activities became fashionable. The development of amenities such as lidos and golf courses changed the look of seaside resorts while holiday camps such as Butlin's provided new types of holiday experience. The book will feature Deco fashions and the more ephemeral and popular culture of the seaside from theatre performances, circuses, fairgrounds, casinos and fun fairs.

This publication brings together 27 works of art made across western Europe between the 12th and 16th centuries, a period spanning the Middle Ages and Renaissance. They represent some of the finest examples of sculpture, metalwork, painting and stained glass still in private hands, and together offer a startling insight into the period’s rich artistic achievements.

The XXV FilmForum Cinematic Medium Across World Fairs, Art Museums, and Cultural Exhibitions conference has been devoted to exploring the interrelations between moving images, the cinematic medium and other arts and media as seen through global exhibiting events, such as the Large International Exhibitions, the Universal Expositions and the world fairs throughout the 19th, 20th, and 21st centuries. The general aim has been to shed light on the meaningful interrelations between moving images, media and arts throughout modernity and postmodernity – which means encompassing the pre-cinema, cinema and post-cinema eras, with a specific focus on Universal Expositions. In fact, the Universal Expositions proved to be a crucial and privileged field of excavation and investigation on the emergence as well as on the fluctuant re-configurations of the moving images within the broad media environment of the modern era.

Comprising material from the 15th century through to the present day, Portraying Pregnancy accompanies an exhibition at the Foundling Museum, which is the first ever to focus on portraits of pregnant women in British art. The book will be extensively illustrated with painted portraits, drawings, miniatures, prints, photographs, sculpture, textiles and objects. Although up to the early 20th century many women spent most of their adult years being pregnant, their pregnancies are seldom made apparent in surviving portraits. Portraying Pregnancy considers the different ways in which (from the late Middle Ages onwards) a sitter’s pregnancy was, or was not, visibly represented to the viewer. Over a span of more than 500 years, Portraying Pregnancy interrogates how the social mores and preoccupations of different periods have impacted the ways in which pregnant women have been depicted – sometimes reinforcing an ‘ideal’ female role (especially within a religious context), while at other times celebrating fertility, or asserting shock value. Prior to the 20th century, the possibility of death in childbirth was a constant reality that brought an additional tension to such a representation. Portraying Pregnancy also explores the extent to which female sitters have had agency over their depiction. Written by Karen Hearn, the leading expert on this topic, Portraying Pregnancy will address representations of pregnancy in a religious context; early popular and medical understanding of pregnancy; dress and fashion; pregnancy portraits in 16th- and early 17th-century England; mid 17th-century female portraits; 18th-century British grand portraiture; the rarity of 19th-century images of pregnant women; the shift in early 20th-century male artists’ depictions of their wives and partners, as they began to celebrate pregnancy visually; how British women artists now addressed their own pregnancies in their work; and other later 20th-century nude portrayals.

Gareth Nyandoro is noted for his large works on paper, which often spill out of their two-dimensional format and into installations that include paper scraps and objects found in the street markets of Harare, where he lives and works. The artist’s primary source of inspiration is the rapidly changing urban and cultural panorama of Zimbabwe. Inspired by his training as a printmaker, and derived from etching, the artist’s distinctive technique, 'Kucheka-cheka', is named after the infinitive and present tense declinations of the Shona verb 'cheka', which means 'to cut'. This, the artist’s first monograph, documents selected bodies of work created since 2015 and presented in exhibitions at venues including the Palais de Tokyo, Paris, Quetzal Art Centre, Portugal, Tiwani Contemporary, London, Modern Art Oxford, and the Rijksakademie van beeldende kunsten, Amsterdam. The publication features an introduction by curator Adélaïde Blanc, who curated Nyandoro’s 2017 solo exhibition 'Stall(s) of Fame' at the Palais de Tokyo. The publication also includes a newly commissioned essay from Cape Town-based writer, critic, and editor Sean O’Toole, which discusses notions of ‘cutting’ and ‘spilling’ in Nyandoro’s practice against a backdrop of both Zimbabwe’s colonial past and ‘southern urbanism’ – city life in the global South.Gareth Nyandoro was born in 1982 in Bikita, Zimbabwe. He lives and works in Harare, Zimbabwe. Recent solo exhibitions include '…Read All About', Van Doren Waxter, New York (2018); 'Stall(s) of Fame', Palais de Tokyo, Paris (2017); 'Stall(s) of Fame', Tiwani Contemporary, London (2017). Selected group exhibitions include 'Par Amour du Jeu', Magasins Généraux, Paris (2018); 'Drawing Africa on the Map', Quetzal Art Centre, Portugal (2018); 'Five Bhobh – Painting at the End of an Era', Zeitz MOCAA, Cape Town (2018); 'Kaleidoscope', Modern Art Oxford (2016) and 'Paper Cut', Tiwani Contemporary, London (2016). Nyandoro won the FT/Oppenheimer Funds Emerging Voices award in 2016 and was a resident at the Rijksakademie van Beeldende Kunsten, Amsterdam, in 2014-15.The publication, launched alongside a solo presentation of work by the artist at Art Basel Miami Beach in December 2019, is produced by Tiwani Contemporary with generous support from the A. G. Leventis Foundation, allowing for the production of artists’ books and their dissemination to libraries and institutions across the globe. Designed by Joe Gilmore and co-published with Anomie Publishing, the series is distributed internationally by Casemate Art.

The University of Hartford’s Hartt School of Music celebrates its centennial in this lavishly illustrated book. The Hartt School holds unique qualities that continue to distinguish it from other performing arts institutions. Through personal and official written communications, school newsletters, speeches, and the exquisite quality of artistic expression, a belief in the value of art is continually reinforced, often with great eloquence, sometimes with humor, and always from the heart.

Since early discoveries of so-called Celtic Art during the 19th century, archaeologists have mused on the origins of this major art tradition, which emerged in Europe around 500 BC. Classical influence has often been cited as the main impetus for this new and distinctive way of decorating, but although Classical and Celtic Art share certain motifs, many of the design principles behind the two styles differ fundamentally. Instead, the idea that Celtic Art shares its essential forms and themes of transformation and animism with Iron Age art from across northern Eurasia has recently gained currency, partly thanks to a move away from the study of motifs in prehistoric art and towards considerations of the contexts in which they appear. This volume explores Iron Age art at different scales and specifically considers the long-distance connections, mutual influences and shared ‘ways of seeing’ that link Celtic Art to other art traditions across northern Eurasia. It brings together 13 papers on varied subjects such as animal and human imagery, technologies of production and the design theory behind Iron Age art, balancing pan-Eurasian scale commentary with regional and site scale studies and detailed analyses of individual objects, as well as introductory and summary papers. This multi-scalar approach allows connections to be made across wide geographical areas, whilst maintaining the detail required to carry out sensitive studies of objects.

One of the most innovative films ever made, Sam Peckinpah's motion picture The Wild Bunch was released in 1969. From the outset, the film was considered controversial because of its powerful, graphic, and direct depiction of violence, but it was also praised for its lush photography, intricate camera work, and cutting-edge editing. Peckinpah's tale of an ill-fated, aging outlaw gang bound by a code of honor is often regarded as one of the most complex and impactful Westerns in American cinematic history. The issues dealt with in this groundbreaking film -- violence, morality, friendship, and the legacy of American ambition and compromise -- are just as relevant today as when the film first opened.To acknowledge the significance of The Wild Bunch, this collection brings together some of the leading Peckinpah scholars and critics to examine what many consider to be the director's greatest work. The book's nine essays cover an array of topics. Explored are the function of violence in the film and how its depiction is radically different from what is seen in other movies, the background of the film's production, the European response to the film's view of human nature, and the strong sense of the Texas/Mexico milieu surrounding the film's action.

This comprehensive biography is the first to present Lewis Milestone's remarkable life -- a classic rags-to-riches American narrative -- in full and explores his many acclaimed films from the silent to the sound era. Creator of All Quiet on the Western Front, Of Mice and Men, the original Ocean's Eleven and Mutiny on the Bounty, Lewis Milestone (1895-1980) was one of the most significant, prolific, and influential directors of our time. A serious artist who believed in film's power not only to entertain, but also to convey messages of social importance, Milestone was known as a man of principle in an industry not always known for an abundance of virtue. Born in Ukraine, Milestone came to America as a tough, resourceful Russian-speaking teenager and learned about film by editing footage from the front as a member of the Signal Corps of the US Army during World War I. During the course of his film career, which spanned more than 40 years, Milestone developed intense personal and professional relationships with such major Hollywood figures as Howard Hughes, Kirk Douglas, Marlene Dietrich, and Marlon Brando. Addressed are Milestone's successes -- he garnered 28 Academy Award nominations -- as well as his challenges. Using newly available archival material, this work also examines Milestone's experience during the Hollywood Blacklist period, when he was one of the first prominent Hollywood figures to fall under suspicion for his alleged Communist sympathies.

To describe women in film history as "invisible" may seem strange as throughout film history, women on the silver screen have given audiences their version of what it is to be a woman. And as film stars they have always been associated with the glamour of the film industry - the living embodiment of female attraction and pleasure. In Making the invisible visible, however, a group of researchers dissect the underrepresentation of women in areas of film culture often overlooked. Despite some significant differences - between countries, between eras, between kinds of job - production teams and film crews have almost always been men. Still today, many film professions are dominated by men. The authors explore womens scope for action in a variety of professional roles, based for example on discussions of LGBTQ+ identities in the film industry. The texts also present fresh perspectives on women actors and the nature of celebrity. Contributors: Elisabet Björklund, Senior Lecturer in Film Studies at Linnaeus University, Sweden. Dagmar Brunow, Associate Professor in Film Studies at Linnaeus University, Sweden. Eirik Frisvold Hanssen, Head of the Film and Broadcasting Section at the National Library of Norway. Christopher Natzén, Research coordinator at the National Library of Sweden. Ingrid Ryberg, filmmaker and Senior Lecturer in Culture, Aesthetics and Media - University of Gothenburg. Tytti Soila, Professor Emeritus in Cinema Studies at Stockholm University.

In Knowing and Seeing, muralist Douglas Cooper reflects on his long career as a muralist in various cities around the world. Part memoir and part an examination of his art, Cooper looks back on his half-century career from two points of view. First, through personal anecdotes on site sketches and finished works, and secondly, on the intellectual roots of the works. Though the core ideas of his work began in Pittsburgh, Cooper has exhibited work and produced murals, up to 200 feet long, in Cologne, Rome, San Francisco, Seattle, Qatar, Frankfurt, Philadelphia, New York, and Washington DC. Memory has been a recurring theme in his art. All of Cooper’s works are driven by a desire to combine his conception of place with his perception of it—knowing and seeing. Knowing and Seeing features personal essays and more than 240 color images, including early Christian and Renaissance paintings as well as contemporary murals and other illustrations of Cooper’s unique work.

Pittsburgh’s explosive industrial and population growth between the mid-nineteenth century and the Great Depression required constant attention to city-building. Private, profit-oriented firms, often with government involvement, provided necessary transportation, energy resources, and suitable industrial and residential sites. Meeting these requirements in the region’s challenging hilly topographical and riverine environment resulted in the dramatic reshaping of the natural landscape. At the same time, the Pittsburgh region’s free market, private enterprise emphasis created socio-economic imbalances and badly polluted the air, water, and land. Industrial stagnation, temporarily interrupted by wars, and then followed deindustrialization inspired the formation of powerful public-private partnerships to address the region’s mounting infrastructural, economic, and social problems. The sixteen essays in Making Industrial Pittsburgh Modern examine important aspects of the modernizing efforts to make Pittsburgh and Southwestern Pennsylvania a successful metropolitan region. The city-building experiences continue to influence the region’s economic transformation, spatial structure, and life experience.

Deborah Hay is an internationally renowned dance artist whose unique approach to bodily practice has had lasting impact on American choreography. Her commitment to dance as a process is as exquisite as it is provoking. Rooted in NYC’s 1960s experimental Judson Dance Theater in New York, Hay’s work has evolved through experimentation with a use of language that is unique to dance. This book is an exploration and articulation of Hay’s process, focusing on several of her most recent works.

This book was inspired by the records made by Carolyn Heighway during the thirty years when she was archaeological consultant at Gloucester Cathedral. The survival of so much of the abbey of 1089 is remarkable, and often not appreciated by the casual visitor since it is ingeniously overlaid by Gothic alterations. Since 2000, surveys have been produced which enable accurate plans and elevations to be made which clarify the late 11th and early 12th century appearance of the building; deductions have also been made from archaeological observations. Since there are almost no documents for the abbey before the 15th century which relate to construction matters, the building itself is primary evidence, and archaeology is an important element. The book is lavishly illustrated with photographs, plans and measured drawings including accurate reconstructions; comparative scale plans of Worcester and Tewkesbury are also included. The late 11th-12th century church is described in detail, along with the surviving claustral buildings. There is a chapter on polychromy and on the surviving 11th-12th century sculpture, and a full bibliography. The whole is set in context by Malcolm Thurlby, who comments on the wider sources and associations.