Alberto Pinto is among the most celebrated interior designers at work today. Here he turns his eye to the wonders of the East and a series of interiors inspired by the colors and textures of Morocco, Byzantium, India, and beyond. Included in this book are interiors in Europe, North America, and North Africa belonging to the jet set and modern elite. Each interior celebrates opulence, whether with fine damasks and silks, intricate tilework, or glittering objets d'art. Included are other visual stage sets for living that are as breathtaking as they are original-vast terraces over sumptuous gardens, shimmering swimming pools open to the sea and sky, filtered light bouncing off floor-to-ceiling mirrors reflecting an infinity of precious woods in an exquisite parquet floor. Pinto designs spaces to delight the senses, and the publication of Orientalism will usher in a new era of sensuality in interior design. Alberto Pinto is among the most celebrated interior designers at work today. Here he turns his eye to the wonders of the East and a series of interiors inspired by the colors and textures of Morocco, Byzantium, India, and beyond. Included in this book are interiors in Europe, North America, and North Africa belonging to the jet set and modern elite. Each interior celebrates opulence, whether with fine damasks and silks, intricate tilework, or glittering objets d'art. Included are other visual stage sets for living that are as breathtaking as they are original-vast terraces over sumptuous gardens, shimmering swimming pools open to the sea and sky, filtered light bouncing off floor-to-ceiling mirrors reflecting an infinity of precious woods in an exquisite parquet floor. Pinto designs spaces to delight the senses, and the publication of Orientalism will usher in a new era of sensuality in interior design.

In this sumptuous book, Alberto Pinto excels at creating a perfect harmony of volume and space by bringing fresh inspiration to established design principles. He assembles an unprecedented range of styles by merging his client’s tastes with his own flair for creativity. With an unobstructed view of a white sandy beach and shimmering turquoise water, a sprawling apartment in the exclusive Ipanema enclave of Rio de Janeiro is decorated in subdued earth tones, punctuated by animal prints and vibrant works of modern art. The interior of a classical orientalist residence in Kuwait reveals elaborate marble tile and wood details, while more modern spaces are furnished predominantly in black and white with judiciously placed accents in red. The details in a Monaco apartment subtly remind us that the home is perched above the Mediterranean Sea, while an ornate white-and-blue residence in New York is distinctly European in its rich use of antique furniture, ceramics, and ornate moldings. Other striking and sublime spaces include a palace in Riyadh and a home in Santa Rita, as well as grand yachts and private jets. Pinto’s Parisian workshop, where his exceptional furniture and tableware can be purchased, is also featured.

With an international clientele--among whom may be numbered royalty, giants of industry, and leaders of state--it is no wonder that interior designer and decorator of renown Alberto Pinto feels himself best suited to the shadows--albeit the shadows of the great. From this privileged position he subtly shapes lifestyles and, to a certain extent, the images of princes. In "Alberto Pinto: Classics," author Philippe Renaud offers us an intimate glimpse of Pinto's world, a world of exquisite luxury and opulence, a world in which, by Pinto's hand, elegance and abundance are brought to balance in harmonious accord. We are shown the magnificent interiors of apartments in New York, mansions in Paris, villas on the Riviera, country houses in England, and palaces in Cairo. We are also brought to a ranch in the deserts of New Mexico and to the ocean-side hills of Long Island's elegant Hamptons. Here we find Pinto's cultivated but decidedly eclectic approach to design--an indirect result, perhaps, of his having grown up in post-colonial Casablanca. His roots are Moroccan--under the certain influence of Paris. Of course, his work is more than this: it is an amalgam of British chic, French elegance, and American rationalism; it is a manipulation of classical styles with a twist; it is frequently a brilliantly daring tendency to juxtaposition and apparent paradox in which a surrealistic painting by Magritte might hang below a Neoclassical bust--all of this ultimately resounding in an affirmation of Alberto Pinto as "the" interior designer and decorator of choice.

"Originally published in French as Tables: Alberto Pinto in 2009 by Editions Flammarion"--T.p. verso.

Alberto Pinto is among the most celebrated interior designers at work today and is known primarily for his highly creative use of color and texture to achieve the effect of unparalleled opulence. Here, Pinto turns his attention to intimate and personal spaces. Pinto succeeds in giving each of the forty bedrooms in this book his unequaled touch of grandeur while evoking its owner's personality. Under Pinto's direction, the bedroom becomes a fantasy-like oasis adorned with water elements, fine damasks, gorgeously colored mosaics, fancy brocades, or neo-classical columns. The resulting rooms are contemporary bedrooms--some more appropriately described as suites rather than single rooms--from Europe and North America that evoke a spectrum of classical styles updated for the finest in twenty-first century living.Alberto Pinto's bedrooms are spaces that are grand and yet intimate. Each one will be an inspiration to anyone who is designing or redecorating a bedroom.

This book charts the convergence of science, culture, and politics across Portugal's empire, showing how a global geographical concept was born. In accessible, narrative prose, this book explores the unexpected forms that science took in the early modern world. It highlights little-known linkages between Asia and the Atlantic world.

Connections between Brazil and the Middle East have a long history, but the importance of these interactions has been heightened in recent years by the rise of Brazil as a champion of the global south, mass mobilizations in the Arab world and South America, and the cultural renaissance of Afro-descendant Muslims and Arab ethnic identities in the Americas. This groundbreaking collection traces the links between these two regions, describes the emergence of new South-South solidarities, and offers new methodologies for the study of transnationalism, global culture, and international relations.

The contentious discourse around world literature tends to stress the ‘world’ in the phrase. This volume, in contrast, asks what it means to approach world literature by inflecting the question of the literary. Debates for, against, and around ‘world literature’ have brought renewed attention to the worldly aspects of the literary enterprise. Literature is studied with regard to its sociopolitical and cultural references, contexts and conditions of production, circulation, distribution, and translation. But what becomes of the literary when one speaks of world literature? Responding to Derek Attridge’s theory of how literature ‘works’, the contributions in this volume explore in diverse ways and with attention to a variety of literary practices what it might mean to speak of ‘the work of world literature’. The volume shows how attention to literariness complicates the ethical and political conundrums at the centre of debates about world literature.

Europe (in Theory) is an innovative analysis of eighteenth- and nineteenth-century ideas about Europe that continue to inform thinking about culture, politics, and identity today. Drawing on insights from subaltern and postcolonial studies, Roberto M. Dainotto deconstructs imperialism not from the so-called periphery but from within Europe itself. He proposes a genealogy of Eurocentrism that accounts for the way modern theories of Europe have marginalized the continent’s own southern region, portraying countries including Greece, Italy, Spain, and Portugal as irrational, corrupt, and clan-based in comparison to the rational, civic-minded nations of northern Europe. Dainotto argues that beginning with Montesquieu’s The Spirit of Laws (1748), Europe not only defined itself against an “Oriental” other but also against elements within its own borders: its South. He locates the roots of Eurocentrism in this disavowal; internalizing the other made it possible to understand and explain Europe without reference to anything beyond its boundaries. Dainotto synthesizes a vast array of literary, philosophical, and historical works by authors from different parts of Europe. He scrutinizes theories that came to dominate thinking about the continent, including Montesquieu’s invention of Europe’s north-south divide, Hegel’s “two Europes,” and Madame de Staël’s idea of opposing European literatures: a modern one from the North, and a pre-modern one from the South. At the same time, Dainotto brings to light counter-narratives written from Europe’s margins, such as the Spanish Jesuit Juan Andrés’s suggestion that the origins of modern European culture were eastern rather than northern and the Italian Orientalist Michele Amari’s assertion that the South was the cradle of a social democracy brought to Europe via Islam.

Bringing together leading conservation scholars and professionals from around the world, this volume offers a timely look at values-based approaches to heritage management. Over the last fifty years, conservation professionals have confronted increasingly complex political, economic, and cultural dynamics. This volume, with contributions by leading international practitioners and scholars, reviews how values-based methods have come to influence conservation, takes stock of emerging approaches to values in heritage practice and policy, identifies common challenges and related spheres of knowledge, and proposes specific areas in which the development of new approaches and future research may help advance the field.