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"For nearly twenty years David Dawson was Lucian Freud's assistant, companion, and model. Freud moved in rarefied, powerful circles and was tenacious about protecting his privacy. He also carefully avoided distraction. With few exceptions, he wanted only those he knew well, like the late Bruce Bernard, to photograph him. David Dawson, however, was in a unique position, and as Freud became comfortable in the presence of Dawson's camera, photographing became part of the daily ritual of the studio. These photographs reveal in a most intimate way the subjects and the stages of paintings in progress. Few artists, if any, have had their lives and their work recorded over such a length of time. Despite Freud's sense of privacy, his circle was wide. Among those who regularly visited Freud were figures from the art world, including art historian John Richardson, and painters David Hockney, and Frank Auerbach, along with model Kate Moss and friends such as the Duke of Beaufort. The book begins in Freud's old studio in Holland Park and then records the artist in his eighteenth-century house in Kensington, the first floor of which was his final studio. Dawson also photographed Freud on his visits to look at masterpieces in various museums in New York, Amsterdam and Madrid. The book ends with views of the rooms in which Freud's own extraordinary collection of paintings was hung. It is the only record of the house itself before the dispersal of the art on his death, but ultimately, the photographs create an intimate portrait of the man. The final images in this book are of the hanging of Freud's work in his posthumous London exhibition at the National Portrait Gallery. Haunting and fascinating, this is a revelatory document about one of our most important and influential painters"--Provided by publisher
When we look at a painting hanging on an art gallery wall, we see only what the artist has chosen to disclose--the finished work of art. What remains mysterious is the process of creation itself--the making of the work of art. Everyone who has looked at paintings has wondered about this, and numerous efforts have been made to discover and depict the creative method of important artists. A Giacometti Portrait is a picture of one of the century's greatest artists at work. James Lord sat for eighteen days while his friend Alberto Giamcometti did his portrait in oil. The artist painted, and the model recorded the sittings and took photographs of the work in its various stages. What emerged was an illumination of what it is to be an artist and what it was to be Giacometti--a portrait in prose of the man and his art. A work of great literary distinction, A Giacometti Portrait is, above all, a subtle and important evocation of a great artist.
A case study of why Third World countries are still poor, the premise of this book is that while some progress has been made in transforming the political economy of Ecuador, certain behaviors, beliefs and attitudes have kept the country from developing in ways that otherwise would have been possible. As the author asserts, for almost five centuries the cultural habits of Ecuadorian citizens have constituted a stumbling block for individual economic success. Still, he concludes, people's cultural values are not immutable: inconvenient customs can be changed or influenced by the economic success of immigrants. This is the challenge that Ecuador faces in the twenty-first century.
How well do we know our country? Whom do we include when we use the word "American"? These are not just contemporary issues but recurring and seemingly permanent questions Americans have asked themselves throughout their history-and questions that were ad
Perhaps the last great work of the Enlightenment, this landmark in intellectual history is the Marquis de Condorcet's homage to the human future emancipated from its chains and led by the progress of reason and the establishment of liberty. Writing in 1794, while in hiding, under sentence of death from the Jacobins in revolutionary France, Condorcet surveys human history and speculates upon its future. With William Godwin, he is the chief foil of Malthus's Essay on Population. Portrayed by Malthus as an elate and giddy optimist, Condorcet foresees a future of indefinite progress. Freed from ignorance and superstition, he argues that the human race stands on the threshold of epochal progress and limitless improvement. Condorcet defies modernist stereotypes of the right and the left. He is at once precursor of the free market and social democracy. This new edition of the original 1795 English translation, is the only English translation of a work of Condorcet currently in print.
This lavish title presents the best work of Ira "Iraville" Sluyterman van Langewedye, a popular illustrator beloved for her idyllic paintings.
David Gentleman has lived in London for almost seventy years, most of it on the same street. This book is a record of a lifetime spent observing, drawing and getting to know the city, bringing together work from across his whole career, from his earliest sketches to watercolours painted just a few months ago. Here is London as it was, and as it is today: the Thames, Hampstead Heath; the streets, canals, markets and people of his home of Camden Town; and at the heart of it all, his studio and the tools of his work. Accompanied by reflections on the process of drawing and personal thoughts on the ever-changing city, this is a celebration of London, and the joy of noticing, looking and capturing the world. 'David has spent a lifetime depicting with wit and affection a London he has made his own' Alan Bennett 'He delivers a poetry of exultant concentration ... The surface fusion of the sensuous and the sharply modern is echoed by Gentleman's imagery' Guardian 'The artist and illustrator has been responsible for some of the most-seen public artworks in this country' The Times 'Perhaps the last of the great polymath designer-painters' Camden New Journal
Debbie Millman's illustrated essays and visual poems are part philosophy, part art, part deeply personal memoir exposing the universal triumphs and tribulations of being human. Her hand-lettered typography - sometimes tender, sometimes gritty, always breathtaking in its visceral candor - makes Self Portrait as Your Traitor a moving masterpiece of a singular art form that speaks to our deepest longings for beauty, honesty, and the ineffable magic of what it means to live.