Once considered the golden age of French printmaking, Louis XIV’s reign saw Paris become a powerhouse of print production. During this time, the king aimed to make fine and decorative arts into signs of French taste and skill and, by extension, into markers of his imperialist glory. Prints were ideal for achieving these goals; reproducible and transportable, they fueled the sophisticated propaganda machine circulating images of Louis as both a man of war and a man of culture. This richly illustrated catalogue features more than one hundred prints from the Getty Research Institute and the Bibliothèque nationale de France in Paris, whose print collection Louis XIV established in 1667. An esteemed international group of contributors investigates the ways that cultural policies affected printmaking; explains what constitutes a print; describes how one became a printmaker; studies how prints were collected; and considers their reception in the ensuing centuries. A Kingdom of Images is published to coincide with an exhibition on view at the Getty Research Institute from June 18 through September 6, 2015, and at the Bibliothèque nationale de France in Paris from November 2, 2015, through January 31, 2016.

What do they all mean – the lascivious ape, autophagic dragons, pot-bellied heads, harp-playing asses, arse-kissing priests and somersaulting jongleurs to be found protruding from the edges of medieval buildings and in the margins of illuminated manuscripts? Michael Camille explores that riotous realm of marginal art, so often explained away as mere decoration or zany doodles, where resistance to social constraints flourished. Medieval image-makers focused attention on the underside of society, the excluded and the ejected. Peasants, servants, prostitutes and beggars all found their place, along with knights and clerics, engaged in impudent antics in the margins of prayer-books or, as gargoyles, on the outsides of churches. Camille brings us to an understanding of how marginality functioned in medieval culture and shows us just how scandalous, subversive, and amazing the art of the time could be.

Between the sixteenth and the nineteenth centuries, the west central African kingdom of Kongo practiced Christianity and actively participated in the Atlantic world as an independent, cosmopolitan realm. Drawing on an expansive and largely unpublished set of objects, images, and documents, Cecile Fromont examines the advent of Kongo Christian visual culture and traces its development across four centuries marked by war, the Atlantic slave trade, and, finally, the rise of nineteenth-century European colonialism. By offering an extensive analysis of the religious, political, and artistic innovations through which the Kongo embraced Christianity, Fromont approaches the country's conversion as a dynamic process that unfolded across centuries. The African kingdom's elite independently and gradually intertwined old and new, local and foreign religious thought, political concepts, and visual forms to mold a novel and constantly evolving Kongo Christian worldview. Fromont sheds light on the cross-cultural exchanges between Africa, Europe, and Latin America that shaped the early modern world, and she outlines the religious, artistic, and social background of the countless men and women displaced by the slave trade from central Africa to all corners of the Atlantic world.

The classic work on the evaluation of city form. What does the city's form actually mean to the people who live there? What can the city planner do to make the city's image more vivid and memorable to the city dweller? To answer these questions, Mr. Lynch, supported by studies of Los Angeles, Boston, and Jersey City, formulates a new criterion—imageability—and shows its potential value as a guide for the building and rebuilding of cities. The wide scope of this study leads to an original and vital method for the evaluation of city form. The architect, the planner, and certainly the city dweller will all want to read this book.

First published in 1992 to wide critical acclaim, Pictures From Home is Larry Sultan's pendant to his parents. Sultan returned home to Southern California periodically in the 1980s and the decade-long sequence moves between registers, combining contemporary photographs with film stills from home movies, fragments of conversation, Sultan's own writings and other memorabilia. The result is a narrative collage in which the boundary between the documentary and the staged becomes increasingly ambiguous. Simultaneously the distance usually maintained between the photographer and his subjects also slips in an exchange of dialogue and emotion that is unique to this work. Significantly increasing the page count of the original book, this MACK design of Pictures From Home clarifies the multiplicity of voices - both textual and pictorial - in order to afford a fresh perspective of this seminal body of work -- Provided by the publisher.

Since its first publication over twenty years ago, Images of Organization has become a classic in the canon of management literature. The book is based on a very simple premise—that all theories of organization and management are based on implicit images or metaphors that stretch our imagination in a way that can create powerful insights, but at the risk of distortion. Gareth Morgan provides a rich and comprehensive resource for exploring the complexity of modern organizations internationally, translating leading-edge theory into leading-edge practice.

Throughout his life photographer Jim Naughten has been fascinated with the natural world. As a child, he collected fossils he found near his home in Dover. Now a renowned photographer, Naughten has started to experiment with stereography and has turned to his boyhood interest, gaining access to the archives of some of the world's most prestigious natural history museums. This gorgeously produced book contains fifty images of marine life, reptiles, mammals, birds and primates photographed expressly for viewing through a stereoscope, which is included with the book. Stereoscopy was invented in 1839 to study and explain binocular vision. Having two eyes allows humans to determine distance and depth and stereoscopy shows a left- and right-eye view from a slightly different angle, as we see things in day-to-day life. Looking through the stereo viewer, readers will see the specimens as three-dimensional objects. As the images jump off the page, their incredible details become apparent-delicate bat wings, the spiraling skeleton of a python, the almost mythic form of a leafy sea dragon.A foreword by Martin Barnes of the Victoria and Albert Museum, London offers an assessment of the work while essays on the specimens themselves and the history of stereoscopy provide rich background to this photographic technology, and to Naughten's achievement in bringing to life a world that seamlessly melds the past and present.

In the 1920s, with the end of the revolution, the Soviet government began investing resources and energy into creating a new type of book for the first generation of young Soviet readers. In a sense, these early books for children were the ABCs of Soviet modernity; creatively illustrated and intricately designed, they were manuals and primers that helped the young reader enter the field of politics through literature. Children’s books provided the basic vocabulary and grammar for understanding new, post-revolutionary realities, but they also taught young readers how to perceive modern events and communist practices. Relying on a process of dual-media rendering, illustrated books presented propaganda as a simple, repeatable narrative or verse, while also casting it in easily recognizable graphic images. A vehicle of ideology, object of affection, and product of labour all in one, the illustrated book for the young Soviet reader emerged as an important cultural phenomenon. Communist in its content, it was often avant-gardist in its form. Spotlighting three thematic threads – communist goals, pedagogy, and propaganda – The Pedagogy of Images traces the formation of a mass-modern readership through the creation of the communist-inflected visual and narrative conventions that these early readers were meant to appropriate.

Examines the imperial mythology that was reflected by Roman art and architecture during the rule of Augustus Caesar

Images of America: West Texas Cattle Kingdom relates the frontier saga of cowboys and longhorn cattle, of trail drives and great ranches. Cattle and horses were introduced to the Western Hemisphere by Spanish conquistadores and colonizers while Mexican vaqueros handled cattle from horseback, developing special techniques, equipment, and attire. Half-wild longhorns multiplied into the millions in the unpopulated brush country above the Rio Grande. After the Civil War, a hungry market for beef developed in the north. Texas "cow boys" learned the vaquero skills of roping and branding and adapted heavy-duty Mexican saddles, wide-brimmed hats, high-heeled boots, jingling spurs, leather chaparejos, and colorful bandanas. The adventure of driving large herds of cattle up the Chisholm Trail and other famous trails captivated America. Vast Texas ranches included the fabled King Ranch, the three-million-acre XIT, Charles Goodnight's JA Ranch, and El Rancho Grande of legendary Shanghai Pierce, who described himself as "Webster on cattle, by God."