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"Time travel, UFOs, mysterious planets, stigmata, rock-throwing poltergeists, huge footprints, bizarre rains of fish and frogs-nearly a century after Charles Fort's Book of the Damned was originally published, the strange phenomenon presented in this book remains largely unexplained by modern science. Through painstaking research and a witty, sarcastic style, Fort captures the imagination while exposing the flaws of popular scientific explanations. Virtually all of his material was compiled and documented from reports published in reputable journals, newspapers and periodicals because he was an avid collector. Charles Fort was somewhat of a recluse who spent most of his spare time researching these strange events and collected these reports from publications sent to him from around the globe. This was the first of a series of books he created on unusual and unexplained events and to this day it remains the most popular. If you agree that truth is often stranger than fiction, then this book is for you"--Taken from Good Reads website.
Historians and art historians provide a critique of existing methodologies and an interdisciplinary inquiry into seventeenth-century Dutch art and culture.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Like music, art is a universal language. Although looking at works of art is a pleasurable enough experience, to appreciate them fully requires certain skills and knowledge." --Carol Strickland, from the introduction to The Annotated Mona Lisa: A Crash Course in Art History from Prehistoric to Post-Modern * This heavily illustrated crash course in art history is revised and updated. This second edition of Carol Strickland's The Annotated Mona Lisa: A Crash Course in Art History from Prehistoric to Post-Modern offers an illustrated tutorial of prehistoric to post-modern art from cave paintings to video art installations to digital and Internet media. * Featuring succinct page-length essays, instructive sidebars, and more than 300 photographs, The Annotated Mona Lisa: A Crash Course in Art History from Prehistoric to Post-Modern takes art history out of the realm of dreary textbooks, demystifies jargon and theory, and makes art accessible-even at a cursory reading. * From Stonehenge to the Guggenheim and from Holbein to Warhol, more than 25,000 years of art is distilled into five sections covering a little more than 200 pages.
"This publication accompanies the exhibition Revealing the African Presence in Renaissance Europe, held at the Walters Art Museum from October 14, 2012, to January 21, 2013, and at the Princeton University Art Museum from February 16 to June 9, 2013."
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He inherited a sense of entitlement (and obligation) from his family, yet eventually came to see his own class as suspect. He was famously militaristic, yet brokered peace between Russia and Japan. He started out an archconservative, yet came to champion progressive causes. These contradictions are not evidence of vacillating weakness: instead, they were the product of a restless mind bend on a continuous quest for self-improvement. In Theodore Roosevelt, historian Kathleen Dalton reveals a man with a personal and intellectual depth rarely seen in our public figures. She shows how Roosevelt’s struggle to overcome his frailties as a child helped to build his character, and offers new insights into his family life, uncovering the important role that Roosevelt’s second wife, Edith Carow, played in the development of his political career. She also shows how TR flirted with progressive reform and then finally commited himself to deep reform in the Bull Moose campaign of 1912. Incorporating the latest scholarship into a vigorous narrative, Dalton reinterprets both the man and his times to create an illuminating portrait that will change the way we see this great man and the Progressive Era.
"Duncan Phyfe (1770-1854), known during his lifetime as the "United States Rage," to this day remains America's best-known cabinetmaker. Establishing his reputation as a purveyor of luxury by designing high-quality furniture for New York's moneyed elite, Phyfe would come to count among his clients some of the nation's wealthiest and most storied families. This richly illustrated volume covers the full chronological sweep of the craftsman's distinguished career, from his earliest furniture-- which bears the influence of his 18th-century British predecessors Thomas Sheraton and Thomas Hope--to his late simplified designs in the Grecian Plain. More than sixty works by Phyfe and his workshop are highlighted, including rarely seen pieces from private collections and several newly discovered documented works. Additionally, essays by leading scholars bring to light new information on Phyfe's life, his workshop production, and his roster of illustrious patrons. What unfolds is the story of Phyfe's remarkable transformation from a young immigrant craftsman to an accomplished master cabinetmaker and an American icon."--Publisher's website.
The J. Paul Getty Museum Journal III is a compendium of articles and notes pertaining to the Museum’s permanent collection of paintings. This volume includes an introduction by Burton B. Fredericksen and an illustrated essay of recent acquisitions of paintings. Volume III includes essays on paintings written by Burton Fredericksen, Eric Young, Jean-Luc Bordeaux, with a principal article on Raphael’s Madonna di Loreto by Burton Fredericksen. This is also the first volume to be issued since the recent and much regretted passing of J. Paul Getty, the Museum’s founder. The principal article of this volume, the one on Raphael’s Madonna di Loreto, was one that he was especially concerned with and interested in. The Raphael was always a subject close to his heart. He was an eager student of Raphael and everything that touched on his favorite picture, and it is only appropriate that the article, which is a summary discussion of the picture’s provenance, be dedicated to him.