Titoli in Storia e critica

In this brief treatise, Professor Rookmaaker explores the value of art in the Kingdom of God. He asks, what is the God-given purpose of our talents? What of those talents whose only contribution is beauty? He insightfully examines the spiritual crisis in current art, the effect of a meaning vacuum on art and society as a whole. He admonishes Christian artists (and us all) to "weep, pray, think, and work" as our means of seeking the Kingdom of God, and his encouragement kindles our spirits and moves us, in our art, whatever our art, to do the truth.

Si hiciésemos una encuesta para saber cuántos pintores conocemos, la mayoría consultada mencionaría a Goya, Velázquez o Van Gogh, pero con seguridad no se hallaría a ninguna mujer en esta lista. Como si no hubiesen existido, pero no es verdad, existieron muchas y excelentes pintoras. ¿Por qué no las conocemos? Porque a lo largo de los siglos han estado escondidas en conventos en el Medievo o dedicándose a labores domésticas en el Renacimiento o el Barroco.

Harvey Kurtzman created Mad, and Mad revolutionized humor in America. Kurtzman was the original editor, artist, and sole writer of Mad, one of the greatest publishing successes of the twentieth century. But how did Kurtzman invent Mad, and why did he leave it shortly after it burst, nova-like, onto the American scene? For this heavily researched biography, Bill Schelly conducted new interviews with Kurtzman’s colleagues, friends, and family, including Hugh Hefner, R. Crumb, Jack Davis, and many others, and examined Kurtzman’s personal archives.

Este es un ensayo corto, un poco alejado de un análisis puramente psicoanalítico, que intenta interpretar la enigmática escultura de Moisés en San Pietro-Vincoli esculpida por Miguel Ángel.

A modern classic cherished by many of the greatest artists of our time, The Gift is a brilliant, life-changing defense of the value of creative labor. Drawing on examples from folklore and literature, history and tribal customs, economics and modern copyright law, Lewis Hyde demonstrates how our society - governed by the marketplace - is poorly equipped to determine the worth of artists’ work.

Este audiolibro cuenta la asombrosa estrategia del autor para desafiar a los oscuros coleccionistas y traficantes de arte hasta encontrar, casi intactas, dos de las obras más preciadas por el Reich y que, supuestamente, fueron destruidas para siempre.

Starting with the Civil War and cartoonist Thomas Nast, creator of the lasting images of Uncle Sam and Santa Claus, author Jeremy Dauber whizzes listeners through the progress of comics in the 20th century and beyond. Follow the history from the golden age of newspaper comic strips - Krazy Kat, Yellow Kid, Dick Tracy - to the midcentury superhero boom - Superman, Batman, Wonder Woman - and from the moral panic of the Eisenhower era to the underground comix movement; from the grim and gritty Dark Knights to the graphic novel’s rise.

Hot Cold Heavy Light collects 100 writings - some long, some short - that taken together form a 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.

This combination of serious artistic engagement with warmth and clarity of prose revels in the experiences and pleasures of art and the body, identity, and community.

When he retired as the chief security officer of New York City's Metropolitan Museum of Art, John Barelli had spent the better part of 40 years responsible not only for one of the richest treasure troves on the planet, but the museum's staff, the millions of visitors, as well as American presidents, royalty, and heads of state from around the world. For the first time, John Barelli shares his experiences of the crimes that occurred on his watch, the investigations that captured thieves and recovered artwork....

Phoebe Hoban, author of definitive biographies of Jean-Michel Basquiat and Alice Neel, now turns her attention to Lucian Freud, the grandson of Sigmund and one of the greatest painters England has produced. Lucian Freud: Eyes Wide Open is the first biography to assess Freud’s work and life, showing how the two converge.

What is art? Why do we value images of saints, kings, goddesses, battles, landscapes or cities from eras of history utterly remote from ourselves? This history of art shows how painters, sculptors and architects have expressed the belief systems of their age: religious, political and aesthetic. From the ancient civilisations of Egypt, Mesopotamia and Greece, to the revolutionary years of the nineteenth and twentieth centuries, the artist has acted as a mirror to the ideals and conflicts of the human mind.

Historically, major women artists have been excluded from the mainstream art canon. Aligned with the resurgence of feminism in pop culture, Broad Strokes offers an entertaining corrective to that omission. Art historian Bridget Quinn delves into the lives and careers of 15 brilliant female artists in this smart, feisty, educational, and enjoyable book.

In 1900, an 18-year-old Spaniard named Pablo Picasso made his first trip to Paris. It was in this glittering capital of the international art world that, after suffering years of poverty and neglect, he emerged as the leader of a bohemian band of painters, sculptors, and poets. Fueled by opium and alcohol, inspired by raucous late-night conversations at the Lapin Agile cabaret, Picasso and his friends resolved to shake up the world.

Tarea es la de pintar a Don Quijote hasta más difícil que la de hinchar un perro. No ya ilustrar la obra imperecedera de Cervantes, sino vestir de carne visible y concreta un espíritu individual y vivo, no mera idea abstracta. Con escrupuloso cuidado me he entretenido en entresacar de las páginas vivas de El Ingenioso Hidalgo, cuantos pasajes se refieren más o menos directamente a los caracteres físicos de Don Quijote. Invito al lector a que divaguemos un poco acerca de la expresión pictórica de este símbolo vivo.

Kim była najbardziej grzeszna Madonna średniowiecza? Kto malował lubieżne służące? Czyje oczy hipnotyzowały Wiedeń? Kolejna książka z bestsellerowej serii biografii historycznych wydawnictwa Lira zabiera czytelników w krainę światowego malarstwa. Dlaczego artysta zdecydował się uwiecznić rysy tej a nie innej damy? Czy były to przypadkowe modelki? A może portretowane były żony, córki lub kochanki bogatych sponsorów zamawiających owe obrazy?

When Trisha Low moves West, her journey is motivated by the need to arrive “somewhere better” - someplace utopian, like revolution; or safe, like home; or even clarifying, like identity. Instead, she faces the end of her relationships, a family whose values she has difficulty sharing, and America’s casual racism, sexism, and homophobia. In this book-length essay, the problem of how to account for one’s life comes to the fore - sliding unpredictably between memory, speculation, self-criticism, and art criticism, Low seeks answers that she knows she won’t find.

The Gutmanns, as they were known, rose from a small Bohemian hamlet to become one of Germany's most powerful banking families. They also amassed a magnificent, world-class art collection that included works by Degas, Renoir, Botticelli, Guardi, and many, many others. But the Nazi regime snatched from them everything they had worked to build: their remarkable art, their immense wealth, their prominent social standing, and their very lives.

In this series of essays, Roger Kimball, managing editor of the New Criterion and an art critic for the London Spectator, examines the current art scene with a scathing intelligence and a crystalline eloquence of writing style. Particularly amusing are his dissections of art-show catalogspeak.

This is the first book to closely examine the curatorial work that the celebrated poet Frank O'Hara (1926-1966) undertook for the Museum of Modern Art in New York and abroad. Upon his premature death, the New York Times obituary ran with the headline: 'Frank O'Hara, 40, Museum Curator / Exhibitions Aide at Modern Art Dies – Also a Poet'. However, in the half a century since, O'Hara's fascinating career as a curator has been eclipsed by the critical attention given over to his poetry.