Victor Hume Moody created timeless images of an Arcadian idyll at a time when most artists had turned their backs on the classical tradition. The centuries old heritage of Western art was too inspiring and too valuable for him to simply abandon. Over a working life of nearly 70 years he tirelessly researched and worked to revive traditional painting techniques. At the same time hecreated a unique fusion of classical figure composition and the pastoral English landscape.Since Victor Moody died his work has been widely seen and his reputation has steadily risen. The Harris Museum in Preston held a retrospective exhibition, ‘The Last Classicist’, in 1992 and more recently his work featured in the 2010 exhibition ‘Counterpoint - Modern Realism 1910-1950’ held at the Fine Art Society. The dispersal of works from the Estate of the artist’s daughter, which has made this present catalogue possible, represents a further importantmoment in the rehabiliation of Victor Moody’s reputation. It is hoped that his work will, as a result, continue to become more widely seen and better understood.

In postwar America, any assertion of difference from the mainstream anticommunist culture carried professional and personal risks. For this reason, modern dance artists left much of what they thought unsaid. Instead they expressed themselves in movement. How To Do Things with Dance positions modern dance as a vital critical discourse, and suggests that dances of the late 1940s and the 1950s can be seen as compelling agents of social change. Concentrating on choreographers whose artistic work conceived dance in terms of action, Rebekah J. Kowal shows how specific choreographic projects demonstrated increasing awareness of the stage as a penetrable space, one on which socially suspect or marginalized modes of being could be performed with relative impunity and exerted in the real world. Artists covered include Martha Graham, José Limón, Anna Sokolow, Katherine Dunham, Pearl Primus, Merce Cunningham, Paul Taylor, Donald McKayle, Talley Beatty, and Anna Halprin.

A controversial essay on one of the treasures of Armenian art, arguing that its illuminations were original and Armenian; with 38 plates.

Through the miracle of photography and the beholding eye of a master photographer such as Myers, we are able to experience the land and life in India's last remaining wild jungles. This is the land of the tiger and elephant and monkey and rhino and a treasure trove of other species. But, as noted writer William deBuys shares in his provocative essay, poaching is a persistent and pervasive problem, and the natural habitat for wild animals is shrinking at an alarming rate due to expanding development and industrialization. Tigers, for example, are now extinct in ninety-three percent of their historical range worldwide, and, without wildlife refuges such as Bandhavgarh, Kanha, Karizanga, and others in India, their numbers would plummet further. Few citizens of the world will ever experience firsthand the jungles and wild places of India, but in Myers's visual discovery they can witness the excitement and energy of coming upon wild game in a moment's notice and experiencing religious shrines and rural life in nearby villages that seem to blend in effortlessly with the adjacent wilderness. Jungle at the Door is that rare glimpse into another world, a world that depends not only on human awareness of what is lost when the jungle is gone, but also the courage and foresight to preserve remaining wild places everywhere, from those in India to our own home ground. (See the publisher's website for further information on the book: http://gftbooks.com/books_MyersJoan.html ).

An iconic feature of the Maine coast (and in a few places inland), lighthouses have served as important navigational aids but also as tourist attractions, art subjects, and advertising symbols. This lavishly illustrated third volume in Historic New England's visual history series explores the lives and legends of lighthouse keepers, shares tales of maritime disasters, examines the architecture of lighthouses, and discusses efforts to preserve lighthouses themselves. It also explains how Maine's lighthouses have inspired myriad forms of representation, from paintings, photographs, and children's stories to tabletop models and all sorts of practical bric-a-brac. The lights were key to the development of the tourist trade in Maine (beyond facilitating safe landings), and they are a ubiquitous symbol on corporate logos, advertisements, souvenirs, and collectibles--from the past to the present. The ten chapters are from a variety of contributors, and each chapter is richly illustrated with photographs and ephemera culled from private and public collections. Dynamically designed with fold-out covers, this book is indeed a treasure-trove of lighthouse information and images. Edited by RICHARD CHEEK, the book features contributions by W. H. BUNTING, maritime historian; THOMAS ANDREW DENENBERG, director of the Shelburne Museum; TIMOTHY HARRISON, editor of Lighthouse Digest magazine; KIRK F. MOHNEY, assistant director of the Maine Historic Preservation Commission; DAVID RICHARDS, director of the Margaret Chase Smith Library; and EARLE G. SHETTLEWORTH, Jr., director of the Maine Historic Preservation Commission and Maine State Historian.

Accompanying a major exhibition at Compton Verney, Warwickshire, this book examines the innate human desire to transcend the limitations of physiology and gravity – and to fly. Through an intriguing combination of paintings, sculpture, photographs, drawings, prints and video, including works by Leonardo da Vinci, José Francisco de Goya y Lucientes, Paul Nash, Peter Lanyon and Hiraki Sawa, the reader will be provided with a unique overview of artists' creative responses to flight, from the earliest imaginings to an era in which space travel has allowed us to glimpse other worlds. For centuries before the modern era people imagined how to go beyond the boundaries imposed by physiology and gravity and take to the air. Myths in every culture have described the overcoming of these physical restrictions as supernatural events because the upper air was the realm of the gods. For the same reason, humans who attempted to trespass on that domain were cast down; only those chosen by the divine will would stay aloft. Flying was thus associated with the sublime because it transcended the limitations of earthly existence. In the modern era, however, flying has become an everyday occurrence and the sense of mystery has been largely forgotten. But once humans finally got airborne, and before flying became a routine phenomenon of mass transit, there was a time when the development of aviation and the experience of flight had a significant impact on artistic practice. Arguably, the same tropes of triumph and disaster that animated the ancient myths of human flight inform the creative responses to the conquest of the air, celebrating pioneers from Bleriot to Gargarin whose exploits conquered gravity and similarly mourning those who dared but died in the attempt. Beyond the artistic response to aviation history lies the artist's use of flight as a creative resource. Probably the most profound aspect of this was the recalibration of space in painting, with the ground plane, the horizon and perspective itself all thrown into doubt when representing the aerial world. Likewise, the familiar terrains that had been the stock in trade of landscape for hundreds of years were reconstituted to offer entirely new vistas when seen from above.

Silver, porcelain and ruby glass seem unlikely bedfellows, yet the objects in the Zilkha Collection are all united by the medium of silver or luxury metalwork. The objects were also made, for the most part, over about a century and a half. All of them tell a fascinating story of the particular circumstances that produced them: a maker, a workshop, a patron. They also tell the wider story of the society that made them necessary or desirable; the science that made them possible; and of their survival down the centuries.

The Nobile Index is a series of monographic publications of art sales prices achieved at auction, for a selection of leading 20th-century British artists. They involve the collaboration of a commercial art dealership, Piano Nobile Works of Art and the University at Bristol's History of Art Department; bringing together academic and commercial expertise on the artists for the benefit of those with an interest in their work. They are funded by the generosity of a private benefactor. The studies are confined to analyses of auction results over the last 20 years. Although largely from UK sales, data supplied by international salerooms are also included. Graphs and interpretations of these figures are analysed and significant trends and buying patterns revealed. It is envisaged that this data will be of growing value to private and corporate clients, museums and fine art funds. Accurate commercial appraisal has always played an important role in the consideration of new acquisitions throughout the history of art. No more so than today is this seen with the fluctuating, but ever more significant rise in value commanded by the best of many 20th-century artists' work. This publication, written by Dr Louise Hughes during the course of her doctoral studies at the University of Bristol, makes a significant contribution to the scholarship on David Bomberg, the important twentieth-century British Vorticistm, war artist and modernist. Dr Hughes establishes for the first time a relationship between his fortunes in the auction houses and the fluctuations in his critical reception. Auctioning David Bomberg: A Sales History 1990-2010 consists of an introduction, results and analaysis, and a booklet with corresponding appendices.

What happens when you invite such luminary fashion designers as Stephen Jones or Hussein Chalayan to collaborate with important contemporary artists such as Cerith Wyn Evans or Gavin Turk and ask them to think about the Olympic values of speed, strength, agility and stamina? A celebration of the best of British creativity and a set of innovative exciting works of art, which will be unveiled at London s Victoria and Albert Museum for the Festival of London, during the 2012 Olympic Games.

Sitting on pins and needles, anxiously waiting to see what will happen next, horror audiences crave the fear and exhilaration generated by a terrifying story; their anticipation is palpable. But they also breathe a sigh of relief when the action is over, when they are able to close their books or leave the movie theater. Whether serious, kitschy, frightening, or ridiculous, horror not only arouses the senses but also raises profound questions about fear, safety, justice, and suffering. From literature and urban legends to film and television, horror's ability to thrill has made it an integral part of modern entertainment. Thomas Fahy and twelve other scholars reveal the underlying themes of the genre in The Philosophy of Horror. Examining the evolving role of horror, the contributing authors investigate works such as Mary Shelley's Frankenstein (1818), horror films of the 1930s, Stephen King's novels, Stanley Kubrick's adaptation of The Shining (1980), and Alfred Hitchcock's Psycho (1960). Also examined are works that have largely been ignored in philosophical circles, including Truman Capote's In Cold Blood (1965), Patrick Süskind's Perfume (1985), and James Purdy's Narrow Rooms (2005). The analysis also extends to contemporary forms of popular horror and "torture-horror" films of the last decade, including Saw (2004), Hostel (2005), The Devil's Rejects (2005), and The Hills Have Eyes (2006), as well as the ongoing popularity of horror on the small screen.The Philosophy of Horror celebrates the strange, compelling, and disturbing elements of horror, drawing on interpretive approaches such as feminist, postcolonial, Marxist, and psychoanalytic criticism. The book invites readers to consider horror's various manifestations and transformations since the late 1700s, probing its social, cultural, and political functions in today's media-hungry society.

Books of Hours are probably the most famous of all medieval illuminated manuscripts. Presented here are 12 Books of Hours that date from the origins of the genre in the 13th century to its eclipse in the 16th century. Examples come from France, Italy and the Southern and Northern Netherlands and are by many notable artists, including Pietro da Pavia, Belbello da Pavia, the Masters of Zweder van Culenburg, the Masters of the Gold Scrolls, Willem Vrelant, Guillaume tile Roy and Jean Poyer. Some are richly illustrated; others are more modest. Each manuscript is wholly unique, offering a captivating glimpse into the lives and preoccupations of their owners, the concerns and contributions of their illuminators.The introduction by Christopher de Hamel, Donnelley Fellow Librarian at Corpus Christi College, Cambridge, underscores the intimacy’ of Books of Hours as a genre. A team of distinguished scholars have contributed to the essays, bringing up-to-date research to the project that helps situate each manuscript in the most recent scholarship. Comparative photographs of manuscripts in institutions place these twelve Horae in their broader artistic and cultural contexts.Accompanying an exhibition held at Les Enluminures, New York, 2—25 May 2012

The goldsmith and mineralogist Johann Christian Neuber (1736–1808) was one of the greatest masters of the gold objet – gold boxes, watch cases, chatelaines, etc. – which he in particular decorated to splendid effect with semiprecious stones – agate, jasper, carnelian and a host of others. In 1769 he became director of the Grünes Gewölbe, the magnificent State Treasury in Dresden, and in 1775 court jeweler to the court of Saxony. Neuber’s work features enchanting landscapes, intricate floral designs and complex geometric patterns made out of tiny cut stones, incorporating also Meissen porcelain plaques, cameos and miniatures. These one-of-a-kind objects are treasured in public and private collections all over the world today, but have never been brought together.This book is the first comprehensive introduction to this master craftsman’s oeuvre, presenting boxes and other decorative objects from the Grünes Gewölbe, The Metropolitan Museum of Art, the Victoria and Albert Museum and public and private collections in Germany, France and New York. One of its highlights is the ‘Breteuil Table’, still owned by the family for which is was made as a diplomatic gift nearly 250 years ago. It accompanies a once-in-a-lifetime exhibition, at the Grünes Gewölbe, Dresden, March–May 2012; at the Frick Collection, New York, May–August; at the Galerie J. Kugel, Paris, Autumn 2012.Beautiful photographs of all Neuber’s creations adorn this extraordinary book – well over 500 in number. The context and history of the growing interest in mineralogy and its celebration in these works of art are fully investigated. Its distinguished authors include Dr Jutta Kappel, of the Grünes Gewölbe; the specialists Sophie Mouquin and Philippe Poindront; the Marquis de Breteuil, Henri-François Le Tonnelier; and the editor of the volume, Alexis Kugel, of the famous Parisian gallery.

In 2009, Avatar, a 3-D movie directed by James Cameron, became the most successful motion picture of all time, a technological breakthrough that has grossed more than $2.5 billion worldwide. Its seamless computer-generated imagery and live action stereo photography effectively defined the importance of 3-D to the future of cinema, as well as all other currently evolving digital displays. Though stereoscopic cinema began in the early nineteenth century and exploded in the 1950s in Hollywood, its present status as an enduring genre was confirmed by Avatar's success.3-D Revolution: The History of Modern Stereoscopic Cinema traces the rise of modern 3-D technology from Arch Oboler's Bwana Devil (1952), which launched the 50s 3-D boom in Hollywood, to the rapidly-modernizing 3-D industry today. Ray Zone takes a comprehensive approach that not only examines the technology of the films, but also investigates the business, culture, and art of their production. Influencing new generations of filmmakers for decades, the evolution of 3-D cinema technology continues to fill our theaters with summer blockbusters and holiday megahits.

In 1964, Bernard Stollman launched the independent record label ESP-Disk' in New York City to document the free jazz movement there. A bare-bones enterprise, ESP was in the right place at the right time, producing albums by artists like Albert Ayler, Pharoah Sanders, and Sun Ra, as well as folk-rock bands like the Fugs and Pearls Before Swine. But the label quickly ran into difficulties and, due to the politically subversive nature of some productions and sloppy business practices, it folded in 1974. Always in Trouble tells the story of ESP-Disk' through a multitude of voices-first Stollman's, as he recounts the improbable life of the label, and then the voices of many of the artists involved. To view a complete discography of ESP-Disk' records, visit this webpage: http://www.wesleyan.edu/wespress/espdiscography.pdf

Regarded by many filmmakers and critics as one of the greatest directors in cinema history, Carl Theodor Dreyer (1889--1968) achieved worldwide acclaim after the debut of his masterpiece, The Passion of Joan of Arc (1928), which was named the most influential film of all time at the 2010 Toronto International Film Festival. In 1955 Dreyer granted twenty-three-year-old American student Jan Wahl the extraordinary opportunity to spend a unique and unforgettable summer with him during the filming of Ordet ( The Word [1955]).Carl Theodor Dreyer and Ordet: My Summer with the Danish Filmmaker is a captivating account of Wahl's time with the director, based on Wahl's daily journal accounts and transcriptions of his conversations with Dreyer. Offering a glimpse into the filmmaker's world, Wahl fashions a portrait of Dreyer as a man, mentor, friend, and director. Wahl's unique and charming account is supplemented by exquisite photos of the filming and by selections from Dreyer's papers, including his notes on film style, his introduction for the actors before the filming of Ordet, and a visionary lecture he delivered at Edinburgh. Carl Theodor Dreyer and Ordet details one student's remarkable experiences with a legendary director and the unlikely bond formed over a summer.

Governing by Design offers a unique perspective on twentieth-century architectural history. It disputes the primacy placed on individuals in the design and planning process and instead looks to the larger influences of politics, culture, economics, and globalization to uncover the roots of how our built environment evolves.In these chapters, historians offer their analysis on design as a vehicle for power and as a mediator of social currents. Power is defined through a variety of forms: modernization, obsolescence, technology, capital, ergonomics, biopolitics, and others. The chapters explore the diffusion of power through the establishment of norms and networks that frame human conduct, action, identity, and design. They follow design as it functions through the body, in the home, and at the state and international level. Overall, Aggregate views the intersection of architecture with the human need for what Foucault termed \u201cgovernmentality\u201d—societal rules, structures, repetition, and protocols—as a way to provide security and tame risk. Here, the conjunction of power and the power of design reinforces governmentality and infuses a sense of social permanence despite the exceedingly fluid nature of societies and the disintegration of cultural memory in the modern era.