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NEW YORK TIMES BESTSELLER "Nathaniel Philbrick is a masterly storyteller. Here he seeks to elevate the naval battles between the French and British to a central place in the history of the American Revolution. He succeeds, marvelously."--The New York Times Book Review The thrilling story of the year that won the Revolutionary War from the New York Times bestselling author of In the Heart of the Sea and Mayflower. In the concluding volume of his acclaimed American Revolution series, Nathaniel Philbrick tells the thrilling story of the year that won the Revolutionary War. In the fall of 1780, after five frustrating years of war, George Washington had come to realize that the only way to defeat the British Empire was with the help of the French navy. But coordinating his army's movements with those of a fleet of warships based thousands of miles away was next to impossible. And then, on September 5, 1781, the impossible happened. Recognized today as one of the most important naval engagements in the history of the world, the Battle of the Chesapeake—fought without a single American ship—made the subsequent victory of the Americans at Yorktown a virtual inevitability. A riveting and wide-ranging story, full of dramatic, unexpected turns, In the Hurricane's Eye reveals that the fate of the American Revolution depended, in the end, on Washington and the sea.
Peter Paul Rubens was the most inventive and prolific northern European artist of his age. This book discusses his life and work in relation to three interrelated themes: spirit, ingenuity, and genius. It argues that Rubens and his reception were pivotal in the transformation of early modern ingenuity into Romantic genius. Ranging across the artist’s entire career, it explores Rubens’s engagement with these themes in his art and life. Alexander Marr looks at Rubens’s forays into altarpiece painting in Italy as well as his collaborations with fellow artists in his hometown of Antwerp, and his complex relationship with the spirit of pleasure. It concludes with his late landscapes in connection to genius loci, the spirit of the place.
According to the defined canons of art technique, a portrait should be, above all, a faithful representation of its model. However, this gallery of 1000 portraits illustrates how the genre has been transformed throughout history, and has proven itself to be much more complex than a simple imitation of reality. Beyond exhibiting the skill of the artist, the portrait must surpass the task of imitation, as just and precise as it may be, to translate both the intention of the artist as well as that of its patron, without betraying eitherÊs wishes. Therefore, these silent witnesses, carefully selected in these pages, reveal more than faces of historic figures or anonymous subjects: they reveal a psychology more than an identity, illustrate an allegory, serve as political and religious propaganda, and embody the customs of their epochs. With its impressive number of masterpieces, biographies, and commentaries on works, this book presents and analyses different portraits, consequently exposing to the reader, and to any art lover, a reflection of the evolution of society, and above all the upheavals of a genre that, over 300 centuries of painting, has shaped the history of art.
Johannes Vermeer's luminous paintings are loved and admired around the world, yet we do not understand how they were made. We see sunlit spaces; the glimmer of satin, silver, and linen; we see the softness of a hand on a lute string or letter. We recognise the distilled impression of a moment of time; and we feel it to be real. We might hope for some answers from the experts, but they are confounded too. Even with the modern technology available, they do not know why there is no evidence of any preliminary drawing; why there are shifts in focus; and why his pictures are unusually blurred. Some wonder if he might possibly have used a camera obscura to capture what he saw before him. The few traces Vermeer has left behind tell us little: there are no letters or diaries; and no reports of him at work. Jane Jelley has taken a new path in this detective story. A painter herself, she has worked with the materials of his time: the cochineal insect and lapis lazuli; the sheep bones, soot, earth, and rust. She shows us how painters made their pictures layer by layer; she investigates old secrets; and hears travellers' tales. She explores how Vermeer could have used a lens in the creation of his masterpieces. The clues were there all along. After all this time, now we can unlock the studio door, and catch a glimpse of Vermeer inside, painting light.
From the early Renaissance through Baroque and Romanticism to Cubism, Surrealism, and Pop, these canonical works of Western Art span eight centuries and a vast range of subjects. Here are the sacred and the scandalous, the minimalist and the opulent, the groundbreaking and the conventional. There are paintings that captured the feeling of an era and those that signaled the beginning of a new one. Works of art that were immediately recognised for their genius, and others that were at first met with resistance. All have stood the test of time and in their own ways contribute to the dialectic on what makes a painting great, how notions of art have changed, to what degree art reflects reality, and to what degree it alters it. Brought together, these great works illuminate the changing preoccupations and insights of our ancestors, and give us pause to consider which paintings from our own era will ultimately join the canon.
Published on the occasion of an exhibition held at the Milwaukee Art Museum, Feb. 10 -May 6, 2012.
Three teen geniuses from around the world must win a Game witht he highest of stakes in this action-packed novel.
Drawing on interviews with 40 winners of the MacArthur Foundation Fellowship—the so-called "genius awards"—the insightful study throws fresh light on the creative process.