The Painted Book in Renaissance Italy: 1450–1600
A comprehensive survey examining the vibrant and sumptuous art of illumination during a period of profound intellectual and cultural transformation Hand-painted illumination enlivened the burgeoning culture of the book in the Italian Renaissance, spanning the momentous shift from manuscript production to print. This major survey, by a leading authority on medieval and renaissance book illumination, gives the first comprehensive account in English of an immensely creative and relatively little-studied art form. Jonathan J. G. Alexander describes key illuminated manuscripts and printed books from the period and explores the social and material worlds in which they were produced. Renaissance humanism encouraged wealthy members of the laity to join the clergy as readers and book collectors. Illuminators responded to patrons’ developing interest in classical motifs, and celebrated artists such as Mantegna and Perugino occasionally worked as illuminators. Italian illuminated books found patronage across Europe, their dispersion hastened by the French invasion of Italy at the end of the 15th century. Richly illustrated, The Painted Book in Renaissance Italy is essential reading for all scholars and students of Renaissance art.
About the Author
Jonathan J. G. Alexander is Sherman Fairchild Professor Emeritus of Fine Arts at the Institute of Fine Arts, New York.
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Trained as an art historian but viewing architecture from the perspective of a “displaced philosopher,” Hubert Damisch in these essays offers a meticulous parsing of language and structure to “think architecture in a different key,” as Anthony Vidler puts it in his introduction. Drawn to architecture because it provides “an open series of structural models,” Damisch examines the origin of architecture and then its structural development from the nineteenth through the twenty-first centuries. He leads the reader from Jean-Francois Blondel to Eugene Viollet-le-Duc to Mies van der Rohe to Diller Scofidio, with stops along the way at the Temple of Jerusalem, Vitruvius’s De Architectura, and the Louvre. In the title essay, Damisch moves easily from Diderot’s Encylopedie to Noah’s Ark (discussing the provisioning, access, floor plan) to the Pan American Building to Le Corbusier to Ground Zero. Noah’s Ark marks the origin of construction, and thus of architecture itself. Diderot’s Encylopedie entry on architecture followed his entry on Noah’s Ark; architecture could only find its way after the Flood. In these thirteen essays, written over a span of forty years, Damisch takes on other histories and theories of architecture to trace a unique trajectory of architectural structure and thought. The essays are, as Vidler says, “a set of exercises” in thinking about architecture.
About the Author
Hubert Damisch is Emeritus Professor of the History and Theory of Art at the Ecole des Hautes Etudes en Sciences Sociales, Paris. Over the course of a long and distinguished career, he has held posts at Cornell University, Columbia University, and the Center for Advanced Studies in the Visual Arts, Washington. He is the author of The Origin of Perspective, The Judgment of Paris, Skyline: The Narcissistic City, and A Theory of Cloud: Toward a History of Painting. Anthony Vidler is Dean and Professor of the Irwin S. Chanin School of Architecture at The Cooper Union, New York. He is the author of Warped Space: Art, Architecture, and Anxiety in Modern Culture (2000), and The Architectural Uncanny: Essays in the Modern Unhomely (1992), both published by The MIT Press, and other books.
Warhol Marilyn (1965) is not a work by Andy Warhol but by the artist Elaine Sturtevant (1930–2014). Throughout her career, Sturtevant (as she preferred to be called) remade and exhibited works by other contemporary artists, among them Jasper Johns, Roy Lichtenstein, and Robert Rauschenberg. For Warhol Marilyn, Sturtevant used one of Warhol’s own silkscreens from his series of Marilyn printed multiples. (When asked how he made his silkscreened work, Warhol famously answered, “I don’t know. Ask Elaine.”) In this book, Patricia Lee examines Warhol Marilyn as representing a shift in thinking about artistic authorship and originality, highlighting a decisive moment in the rethinking of the contemporary artwork. Lee describes the cognitive dissonance a viewer might feel on learning the identity of Warhol Marilyn’s author, and explains that mistaken identity is part of Sturtevant’s intention for the operation of the work. She discusses the ways that Sturtevant’s methodology went against the grain of a certain interpretation of modernism, and addresses the cultural significance of both Warhol and Monroe as celebrity figures. She considers Dorothy Podber’s shooting a bullet through a stack of Warhol’s Marilyns (thereafter known as The Shot Marilyns) at the Factory in 1964 and its possible influence on Sturtevant’s decision to remake the work. Lee writes that Sturtevant’s critical reception has been informed by some fictional forebears: the made-up artist Hank Herron (whose nonexistent work duplicating paintings by Frank Stella was reviewed by a fictional critic), and (suggested by Sturtevant herself) Pierre Menard, the title character of Jorge Luis Borges’s “Pierre Menard, Author of the Quixote,” who recreates a section of Cervantes’s masterpiece line by line. And finally, she explores installation contexts and display strategies for Sturtevant’s work as illuminating her broader artistic aims and principles.
About the Author
Patricia Lee is a writer, lecturer, and scholar of contemporary art.
Consistently praised as the best volume on classic elements of web site design, Web Style Guide has sold many thousands of copies and has been published around the world. This new revised edition confirms Web Style Guide as the go-to authority in a rapidly changing market. As web designers move from building sites from scratch to using content management and aggregation tools, the book’s focus shifts away from code samples and toward best practices, especially those involving mobile experience, social media, and accessibility. An ideal reference for web site designers in corporations, government, nonprofit organizations, and academic institutions, the book explains established design principles and covers all aspects of web design-from planning to production to maintenance. The guide also shows how these principles apply in web design projects whose primary concerns are information design, interface design, and efficient search and navigation.
About the Author
Patrick J. Lynch is senior digital officer in Yale University’s Office of Public Affairs and Communications. He lives in North Haven, CT. Sarah Horton is user experience strategy lead for the Paciello Group. She lives in New York City.
Thomas Pavittes amazing 1,000 Dot-to-Dot books brought a fresh spirit to a classic pastime, and have sold hundreds of thousands of copies worldwide. Now he unveils an even more original and amazing concept: Querkles: The Puzzling Colouring Book. At first glance the Querkles are nothing but a seemingly random arrangement of indecipherable overlapping circles but cunningly hidden within each one is a famous face waiting to be revealed. You can keep it simple, and use one pen or pencil, or you can go colourful, with felt tips or paints: the principle is no more complicated than the colour-by-numbers books that kids love. The results, however, are unexpected, graphic and sensational and theres the thrill of discovery every time! 20 great portraits of well known faces, from the Mona Lisa to Che Guevara, will come to life and each can easily be removed from the oversized book, framed and displayed.