During Marc Chagall's long life, he found love, helped pioneer the modernist art movement, and painted. Fourteen of Chagall's works are here vividly reproduced and accompanied by the poems of notable children's writers J. Patrick Lewis and Jane Yolen, combining color and rhyme to celebrate a most remarkable artist.

Presents fourteen paintings created by Russian-French Jewish artist Marc Chagall, accompanied by the poetry of various notable children's writers.

The first full-color book to examine Jewish American painters and their works.

Presents fourteen famous artists' self-portraits illustrating their different styles and views of themselves.

On the Spirit and the Self: The Religious Art of Marc Chagall compliments and extends the scholarship surrounding Chagall’s place in the History of 20th Century Art as a Religious artist. Central to this study is the psychic process of individuation and the ways in which images appear to depict the deeper changes in our collective human existence. A new perspective on Chagall’s creative output is presented through the application of Jungian theory: Jung identifies a separation between the cultural and historical underpinnings of natal faith, or creed, and the presence of an internal, personal spirituality, or religious attitude. This theoretical approach helps to define Chagall’s creative connection to his own natal Hasidic faith whilst clarifying the interiority of his religious experiences on a universal level. That creative development may be explored through the visual patterns of sacred transformative imagery is a new approach in Chagallian scholarship, elevating two key concepts: the Chagallian sacred-secular binary, and the Chagallian temenos sites. Primary source materials reflecting the Artist’s voice are illuminated by more than seventy colour reproductions to support the perspective that, like Jung, Chagall was among the most prolific and significant religious communicators of the 20th Century.

-An exceptional insight into Chagall's work, at an exceptional price -A small and portable pocket book whose contents are larger-than-life -Published to accompany exhibitions at Montreal Beaux-Arts Museum, from 28th January to 11th June 2017 and Los Angeles LACMA, from 23th July 2017 to 7th January 2018 Music was a constant source of inspiration for Marc Chagall, both as a muse for creation and as a rhythm for composition. Intimately linked to his family world and the Jewish cultural context of his native town, Vitebsk, Chagall's relationship with music would manifest itself consistently throughout his long life. In fact, music is omnipresent in his oeuvre: there is a sense of flow between his attentive listening to composers, and his scenic and architectural creations. This book underlines the vital influence of music on the artist's work from the 1920s to the 1960s. Accompanies exhibitions at Montreal Beaux-Arts Museum, from 28th January to 11th June 2017 and Los Angeles LACMA, from 23th July 2017 to 7th January 2018

When Israeli Nobel Laureate S. Y. Agnon published the novel Only Yesterday in 1945, it quickly became recognized as a major work of world literature, not only for its vivid historical reconstruction of Israel's founding society. The book tells a seemingly simple tale about a man who immigrates to Palestine with the Second Aliya--the several hundred idealists who returned between 1904 and 1914 to work the Hebrew soil as in Biblical times and revive Hebrew culture. This epic novel also engages the reader in a fascinating network of meanings, contradictions, and paradoxes all leading to the question, what, if anything, controls human existence? Seduced by Zionist slogans, young Isaac Kumer imagines the Land of Israel filled with the financial, social, and erotic opportunities that were denied him, the son of an impoverished shopkeeper, in Poland. Once there, he cannot find the agricultural work he anticipated. Instead Isaac happens upon house-painting jobs as he moves from secular, Zionist Jaffa, where the ideological fervor and sexual freedom are alien to him, to ultra-orthodox, anti-Zionist Jerusalem. While some of his Zionist friends turn capitalist, becoming successful merchants, his own life remains adrift and impoverished in a land torn between idealism and practicality, a place that is at once homeland and diaspora. Eventually he marries a religious woman in Jerusalem, after his worldly girlfriend in Jaffa rejects him. Led astray by circumstances, Isaac always ends up in the place opposite of where he wants to be, but why? The text soars to Surrealist-Kafkaesque dimensions when, in a playful mode, Isaac drips paint on a stray dog, writing "Crazy Dog" on his back. Causing panic wherever he roams, the dog takes over the story, until, after enduring persecution for so long without "understanding" why, he really does go mad and bites Isaac. The dog has been interpreted as everything from the embodiment of Exile to a daemonic force, and becomes an unforgettable character in a book about the death of God, the deception of discourse, the power of suppressed eroticism, and the destiny of a people depicted in all its darkness and promise.

In the third album of the Series: Painters: A New Vision which are written in both English and Russian... modest attempt is undertaken, having looked in a new fashion (' A New Vision ') to comprehend through own sensations and to state a poetic assessment of activity of protruding artist Marc Chagall ('Summary in Verses'). Author gave his understanding ('A new vision') of the paintings in these verses.

Discusses the life of Marc Chagall and describes his unique style of art.

In recent years, neuroscientists have made ambitious attempts to explain artistic processes and spectatorship through brain imaging techniques. But can brain science really unravel the workings of art? Is the brain in fact the site of aesthetic appreciation? Embodying Art recasts the relationship between neuroscience and aesthetics and calls for shifting the focus of inquiry from the brain itself to personal experience in the world. Chiara Cappelletto presents close readings of neuroscientific and philosophical scholarship as well as artworks and art criticism, identifying their epistemological premises and theoretical consequences. She critiques neuroaesthetic reductionism and its assumptions about a mind/body divide, arguing that the brain is embodied and embedded in affective, cultural, and historical milieus. Cappelletto considers understandings of the human brain encompassing scientific, philosophical, and visual and performance arts discourses. She examines how neuroaesthetics has constructed its field of study, exploring the ways digital renderings and scientific data have been used to produce the brain as a cultural and visual object. Tracing the intertwined histories of brain science and aesthetic theory, Embodying Art offers a strikingly original and profound philosophical account of the human brain as a living artifact.