"Since early 2012 I have been photographing fine artists and inviting them to interpret those portraits through their particular medium. An artist's work can act as both bridge and barrier; at once deeply personal and highly distorted; the lens through which we present our perception of the world, and the world that in turn interprets us." - Allan Amato

"In the hands of an innovative team consisting of Sir Coutts Lindsay, his wife Blanche Lindsay, and two managers, Charles Halle and Joseph Comyns Carr, the gallery developed a reputation as a leading exhibition space for British and Continental artists during the late Victorian period. What factors contributed to its rise to prominence on the London exhibition circuit? How did it maintain that respected place in light of the diversification of showcases during this period?" "Central to this book is a close examination of the paintings which were shown at the gallery during its fourteen-year run, how they were received by the critics, and which movements were represented."--Jacket.

As treasure troves of creativity, the homes of artists reflect the intellectual worlds of their creators. Starting with the Villa Stuck in Munich--the aesthetic, conceptual cosmos and life's work of the aristocratic artist Franz von Stuck--this unique volume integrates the artist's house as a category into the international discourse and is the first to assign these buildings the status of major works. About 20 examples bring to life the fascination that these artistic fantasies hold for art lovers, including both existing projects and some which, although they have been lost, were of unique importance in their day and still retain their charisma. Along with paintings, sculptures and photographs, plans and models convey the interrelationship between art and life as well as the harmony of the arts expressed by Richard Wagner's historical concept of the total work of art. Among the houses featured are Sir John Soane's Museum, London; William Morris's Red House, Bexleyheath; Louis Comfort Tiffany's Tiffany House, New York City; Mortimer Menpes' flat, London; the Fernand Khnopff Villa, Brussels; Jacques Majorelle's villa and garden, Marrakesh; Kurt Schwitters' Merzbau, Hanover; and Max Ernst's house, Arizona.

A monograph on the forgotten visionary artist Herbert Crowley, who exibited in the Armory Show alongside Picasso, was published in the New York Herald alongside Winsor McCay, and then mysteriously vanished.

In this magisterial two-volume book, Pier Luigi Tucci offers a comprehensive examination of one of the key complexes of Ancient Rome, the Temple of Peace. Based on archival research and an architectural survey, his research sheds new light on the medieval, Renaissance, and Baroque transformations of the basilica, and the later restorations of the complex. Volume 1 focuses on the foundation of the complex under Vespasian until its restoration under Septimius Severus and challenges the accepted views about the ancient building. Volume 2 begins with the remodelling of the library hall and the construction of the rotunda complex, and examines the dedication of the Christian Basilica of SS Cosmas and Damian. Of interest to scholars in a range of topics, The Temple of Peace in Rome crosses the boundaries between classics, archaeology, history of architecture, and art history, through Late Antiquity, the Middle Ages, and the early modern period.

Their work, both celebrated and controversial, depicts stories from the Buddha's lives in otherworldly landscapes punctuated with sly references to this-worldly politics and popular culture. Schooled in international art trends, the artists reverse an Orientalist narrative of the Asian Other, telling their own stories to diverse audiences and subsuming Western spaces into a Buddhist worldview."--BOOK JACKET.

Biography and catalogue of plein-air painter William Wendt

An investigation of the myth, history, inscriptions, architecture, sculpture, painting, iconological program, festival, rituals and theater of the only known intact ancient dragon king temple in China

The early Chalukyas of Badami (c. 6th-8th centuries) are known to have built a large number of rock-cut and structural temples, scattered over the entire Karnataka. In this south Indian state, their distinctive monuments can be seen in Aihole, Badami, Pattadakal, Mahakuta, and a few other places. By the end of the 6th century, they had also excavated highly impressive rock-cut temples at Badami and Aihole. These Early Chalukyan monuments are of special interest - for they mark a transition from cutting into rock to free-standing constriction. They are distinctive for their architectural styles as well. In these religious monuments can also be perceived an intermingling of Dravida and Nagara idioms to produce schemes that combine myriad attributes, derived from different traditions. This splendid technical and stylistic variety is further supplemented by local architectural practices, which come to be blended with the more widespread Dravida and Nagara idioms. Apart from all this, these Early Chalukyan temples are remarkable for the sheer beauty of their figural and decorative carvings.00For the first time, perhaps, this book offers a comprehensive study of the Early Chalukya temples from the Central Karnataka region. With prefatory chapters on their historical backdrop, architectural nuances and sculptural art, George Michell meticulously examines both the rock-cut and free-standing temples of Badami, Mahakuta, Aihole, and Pattadakal – together with over a hundred of his measured drawings which, taken from his Ph.D dissertation, present an exhaustive graphic documentation, never attempted before. In addition, the book includes about 200 at-once-engaging photographs, taken by Surendra Kumar – a specialist in panoramic topographic views.00Dr George Michell is a widely reputed architect, who, in collaboration with John M. Fritz, has successfully completed numerous documentation and research projects at Hampi, Vijayanagara.

Built between 1855 and 1860, Oxford University Museum of Natural History is the extraordinary result of close collaboration between artists and scientists. Inspired by John Ruskin, the architect Benjamin Woodward and the Oxford scientists worked with leading Pre-Raphaelite artists on the design and decoration of the building. The decorative art was modelled on the Pre-Raphaelite principle of meticulous observation of nature, itself indebted to science, while individual artists designed architectural details and carved portrait statues of influential scientists. The entire structure was an experiment in using architecture and art to communicate natural history, modern science and natural theology. 'Temple of Science' sets out the history of the campaign to build the museum before taking the reader on a tour of art in the museum itself. It looks at the façade and the central court, with their beautiful natural history carvings and marble columns illustrating different geological strata, and at the pantheon of scientists. Together they form the world's finest collection of Pre-Raphaelite sculpture. The story of one of the most remarkable collaborations between scientists and artists in European art is told here with lavish illustrations.