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In May 1901 the Salisbury Galleries announce the biggest exhibition of the Old Master Paintings ever seen in Europe. Excitement is intense. But before it opens, one of Britain's leading art experts, Christopher Montague, is found murdered in his study. When Lord Francis Powerscourt is called in to investigate he finds every book, notepad and scrap of paper has been removed from the scene of the crime. Montague had been working on something that would have rocked the art world. Did his article that claimed a number of the Old Masters had been painted recently by a single hand have anything to do with his death? Powerscourt embarks on an odyssey through a treacherous world of art dealers and picture restorers in pursuit of a master forger. He travels to Sicily where the trail goes cold, but, after the thrills and danger of that wild, lawless isalnd, in a remopte corer of England, the truth is finally revealed.
How portraits of artists during the Renaissance helped create the first art stars in modern history Michelangelo was one of the biggest international art stars of his time, but being Michelangelo was no easy thing: he was stalked by fans, lauded and lambasted by critics, and depicted in unauthorized portraits. Still Lives traces the process by which artists such as Michelangelo, Dürer, and Titian became early modern celebrities. Artists had been subjects of biographies since antiquity, but Renaissance artists were the first whose faces were sometimes as recognizable as their art. Maria Loh shows how this transformation was aided by the rapid expansion of portraiture and self-portraiture as independent genres in painting and sculpture. She examines the challenges confronting artists in this new image economy: What did it mean to be an image maker haunted by one's own image? How did these changes affect the everyday realities of artists and their workshops? And how did images of artists contribute to the way they envisioned themselves as figures in a history that would outlive them? Richly illustrated, Still Lives is an original exploration of the invention of the artist portrait and a new form of secular stardom.
In this exuberantly satirical novel, the tutor Atzbacher has been summoned by his friend Reger to meet him in a Viennese museum. While Reger gazes at a Tintoretto portrait, Atzbacher—who fears Reger's plans to kill himself—gives us a portrait of the musicologist: his wisdom, his devotion to his wife, and his love-hate relationship with art. With characteristically acerbic wit, Bernhard exposes the pretensions and aspirations of humanity in a novel at once pessimistic and strangely exhilarating. "Bernhard's . . . most enjoyable novel."—Robert Craft, New York Review of Books. "Bernhard is one of the masters of contemporary European fiction."—George Steiner
Hot Cold Heavy Light collects 100 writings—some long, some short—that taken together forma group portrait of many of the world’s most significant and interesting artists. From Pablo Picasso to Cindy Sherman, Old Masters to contemporary masters, paintings to comix, and saints to charlatans, Schjeldahl ranges widely through the diverse and confusing art world, an expert guide to a dazzling scene. No other writer enhances the reader’s experience of art in precise, jargon-free prose as Schjeldahl does. His reviews are more essay than criticism, and he offers engaging and informative accounts of artists and their work. For more than three decades, he has written about art with Emersonian openness and clarity. A fresh perspective, an unexpected connection, a lucid gloss on a big idea awaits the reader on every page of this big, absorbing, buzzing book.
A deeply researched warning about how the digital economy threatens artists' lives and work—the music, writing, and visual art that sustain our souls and societies—from an award-winning essayist and critic There are two stories you hear about earning a living as an artist in the digital age. One comes from Silicon Valley. There's never been a better time to be an artist, it goes. If you've got a laptop, you've got a recording studio. If you've got an iPhone, you've got a movie camera. And if production is cheap, distribution is free: it's called the Internet. Everyone's an artist; just tap your creativity and put your stuff out there. The other comes from artists themselves. Sure, it goes, you can put your stuff out there, but who's going to pay you for it? Everyone is not an artist. Making art takes years of dedication, and that requires a means of support. If things don't change, a lot of art will cease to be sustainable. So which account is true? Since people are still making a living as artists today, how are they managing to do it? William Deresiewicz, a leading critic of the arts and of contemporary culture, set out to answer those questions. Based on interviews with artists of all kinds, The Death of the Artist argues that we are in the midst of an epochal transformation. If artists were artisans in the Renaissance, bohemians in the nineteenth century, and professionals in the twentieth, a new paradigm is emerging in the digital age, one that is changing our fundamental ideas about the nature of art and the role of the artist in society.
This insightful volumes the use of imitation and the modern cult of originality through a consideration of the disparate fates of two Venetian painters - the canonised master Titian and his artistic heir, the little-known Padovanino.
Berger reveals the ties between love and absence, the ways poetry endows language with the assurance of prayer, and the tensions between the forward movement of sexuality and the steady backward tug of time. He recreates the mysterious forces at work in a Rembrandt painting, transcribes the sensorial experience of viewing lilacs at dusk, and explores the meaning of home to early man and to the hundreds of thousands of displaced people in our cities today. And Our Faces, My Heart, Brief as Photos is a seamless fusion of the political and personal.
Good Press presents to you this carefully created collection of Frederick Douglass's complete works. Frederick Douglass (1818-1895) was an African-American social reformer, abolitionist, orator and statesman. After escaping from slavery in Maryland, he became a national leader of the abolitionist movement in Massachusetts and New York. Contents: Memoirs: Narrative of the Life of Frederick Douglass, an American Slave My Bondage and My Freedom Life and Times of Frederick Douglass Writings & Speeches: The Heroic Slave My Escape from Slavery What to the Slave is the Fourth of July? Self-Made Men The Church and Prejudice The Color Line The Future of the Colored Race Abolition Fanaticism in New York An Appeal to Congress for Impartial Suffrage Oration in Memory of Abraham Lincoln Reconstruction John Brown: An Address at the 14th Anniversary of Storer College The Claims of Our Common Cause The End of All Compromises with Slavery – Now and Forever The Kansas-Nebraska Bill The Dred Scott Decision Farewell Speech to the British People Comments on Gerrit Smith's Address Change of Opinion Announced Colonization Henry Clay and Slavery The Free Negro's Place Is In America Horace Greeley and Colonization The Fugitive Slave Law The Revolution of 1848 West India Emancipation The Chicago Nomination The Late Election The Union and How to Save It Sudden Revolution in Northern Sentiment How to End the War Cast off the Millstone The Reasons for Our Troubles The War and How to End It What shall be Done with the Slaves if Emancipated The President and His Speeches Emancipation Proclaimed Men of Color, To Arms! Why Should a Colored Man Enlist? Our Work Is Not Done The Work of the Future What the Black Man Wants Give Us the Freedom Intended for Us A Call to Work The Word White The Hypocrisy of American Slavery Introduction to "The Reason Why" Reply of the Colored Delegation to the President Letter to Harriet Beecher Stowe Letter to Miss Wells
When in their lives do great artists produce their greatest art? Do they strive for creative perfection throughout decades of painstaking and frustrating experimentation, or do they achieve it confidently and decisively, through meticulous planning that yields masterpieces early in their lives? By examining the careers not only of great painters but also of important sculptors, poets, novelists, and movie directors, Old Masters and Young Geniuses offers a profound new understanding of artistic creativity. Using a wide range of evidence, David Galenson demonstrates that there are two fundamentally different approaches to innovation, and that each is associated with a distinct pattern of discovery over a lifetime. Experimental innovators work by trial and error, and arrive at their major contributions gradually, late in life. In contrast, conceptual innovators make sudden breakthroughs by formulating new ideas, usually at an early age. Galenson shows why such artists as Michelangelo, Rembrandt, Cézanne, Jackson Pollock, Virginia Woolf, Robert Frost, and Alfred Hitchcock were experimental old masters, and why Vermeer, van Gogh, Picasso, Herman Melville, James Joyce, Sylvia Plath, and Orson Welles were conceptual young geniuses. He also explains how this changes our understanding of art and its past. Experimental innovators seek, and conceptual innovators find. By illuminating the differences between them, this pioneering book provides vivid new insights into the mysterious processes of human creativity.