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Don’t turn your back on the paintings… Anne Reynolds shows up at crime scenes that baffle the police. Her specialty, and history, in art forgery make her an easy choice for investigating a murder at the Museum of Small Art. But she hasn’t been called in because of her art skills. The body on the gallery floor has a story to tell. A story drenched in blood. Sprawled beneath a painting steeped in demonic lore. And only Anne can get the dead to talk. A touch. One touch, and she sees everything. But seeing everything in the strange Everyman’s Soul painting opens secrets that haunt. And screams for murder. Author’s Note: This story is also published in the collection HAUNTS AND HOWLS WHERE DEMONS DWELL. keywords: Urban fantasy; paranormal urban fantasy; contemporary fantasy; paranormal fantasy; dark fantasy; horror fantasy; murder mystery; paranormal mystery; crime fiction; haunted paintings; cursed art; psychic murder mystery crime fiction; magic fantasy; short story collections; demons and devils; witches and wizards; urban fantasy magic; monsters and demons; myths and legends
Art and Artists: Poems is a sumptuous collection of visions in verse—the work of centuries of poets who have used their own art form to illuminate art created by others. A wide variety of visual art forms have inspired great poetry, from painting, sculpture, and photography to tapestry, folk art, and calligraphy. Included here are poems that celebrate Leonardo da Vinci’s Mona Lisa, Claude Monet’s Water Lilies, and Grant Wood’s American Gothic. Here are such well-known poems as John Keats’s “Ode on a Grecian Urn” and W. H. Auden’s “Musée des Beaux Arts,” Homer’s immortal account of the forging of the shield of Achilles, and Federico García Lorca’s breathtaking ode to the surreal paintings of Salvador Dalí. Allen Ginsberg writes about Cezanne, Anne Sexton about van Gogh, Billy Collins about Hieronymus Bosch, and Kevin Young about Jean-Michel Basquiat. Here too are poems that take on the artists themselves, from Michelangelo and Rembrandt to Frida Kahlo and Georgia O’Keeffe. Altogether, this brilliantly curated anthology proves that a picture can be worth a thousand words—or a few very well-chosen ones.
The total number of Everyman's Library volumes that still survive somewhere in the world exceeds 70 million. Since the inception of the Library in 1906, nearly 1200 unique volumes have been published, constantly placing the world's greatest books before a large public. A few of these titles proved unpopular and were never reprinted. But most were reprinted dozens of times, packaged in numerous ways, and benefited from updated editorial work and book design over the last century. Terry Seymour has studied and researched every aspect of this great mass of books. He now captures and distills this knowledge in A Printing History of Everyman's Library 1906-1982. A critical feature, of course, is to update the various collecting factoids that have emerged since 2005 when his Guide to Collecting Everyman's Library was published. The meat of the new book, however, is the Bibliographical Entries section. Each volume that has ever been printed receives its own entry, detailing every printing, each dust jacket variation, any new introductions, updated scarcity numbers, and all relevant notes. Typically an entry contains at least six lines of information, but often much more. In essence, each entry is a story written exclusively about each volume. Armed with this resource, collectors and booksellers can know reliably everything about the Everyman's Library volume that sits on their shelf or is ready to be purchased or sold. They will see how a book fits into the total printing history of that title, and be able to describe and value the book with precision. To further enhance the value of this book, color images illustrate all of the key collecting points. An extensive index of editors, translators and artists is now included. Not just a solo effort, the Printing History has been vetted by other expert collectors, ensuring greater accuracy and comprehensiveness.
Dare to tread where demons prowl… Hidden beneath the surface of the everyday world. Lurking in darkness. Haunting the shadows. Looming just outside the light. The demons call to the unwary, leaving the unsuspecting to fend off doom. Where demons cavort, heroes arise to battle the encroaching evil. Needing everything they’ve got. Magic. Will. Bravery. And hope for the return of the light. For lovers of spooky fantasy tales, don’t miss this collection of five original contemporary fantasy stories from bestselling author Kat Simons, including an all new Demon Hunter story. keywords: Dark urban fantasy; Urban fantasy; paranormal urban fantasy; contemporary fantasy; dark fantasy; short story collections; demons and devils; witches and wizards; series urban fantasy; urban fantasy magic; magic and mayhem; monsters and demons; heroes and warriors; demon hunters; myths and legends; horror fantasy
While many museums have ignored public art as a distinct arena of art production and display, others have – either grudgingly or enthusiastically – embraced it. Some institutions have partnered with public art agencies to expand the scope of special exhibitions; other museums have attempted to establish in-house public art programs. This is the first book to contextualize the collaborations between museums and public art through a range of essays marked by their coherence of topical focus, written by leading and emerging scholars and artists. Organized into three sections it represents a major contribution to the field of art history in general, and to those of public art and museum studies in particular. It includes essays by art historians, critics, curators, arts administrators and artists, all of whom help to finally codify the largely unwritten history of how museums and public art have and continue to intersect. Key questions are both addressed and offered as topics for further discussion: Who originates such public art initiatives, funds them, and most importantly, establishes the philosophy behind them? Is the efficacy of these initiatives evaluated in the same way as other museum exhibitions and programs? Can public art ever be a “permanent” feature in any museum? And finally, are the museum and public art ultimately at odds, or able to mutually benefit one another?