War Paint is the story of two extraordinary women, Miss Elizabeth Arden and Madame Helena Rubinstein, and the legacy they left: a story of feminine vanity and marketing genius. Behind the gloss and glamour lay obsession with business and rivalry with each other. Despite working for over six decades in the same business, these two geniuses never met face to face - until now. 'The definitive biography of women and their relationships to their faces in the twentieth century' Linda Grant, Guardian 'I have seldom enjoyed a book so much . . . the research is staggering . . . a wonderful read' Lulu Guinness

Helena Rubinstein and Elizabeth Arden's remarkable rivalry was ruthless, relentless and legendary--pushing both women to build international beauty empires in a world dominated by men.

"For many service men, the battle is over, but the ink lives on. Thousands of service men and women have chosen to commemorate their military service through tattoos, a custom as old as war itself. Yet military tattoos go far beyond the usual anchor and eagle clicheʹs, and are often as complex and varied as the military experience. For the first time, documentary photographer Kyle Cassidy has sought out veterans who marked their military service with a tattoo, they are shown here in all their glory. And the stories behind these tattoos, both conventional and surprising, are just as engaging"--Inside cover.

In this groundbreaking examination of British war art during the Second World War, Brian Foss delves deeply into what art meant to Britain and its people at a time when the nation's very survival was under threat. Foss probes the impact of war art on the relations between art, state patronage, and public interest in art, and he considers how this period of duress affected the trajectory of British Modernism. Supported by some two hundred illustrations and extensive archival research, the book offers the richest, most nuanced view of mid-century art and artists in Britain yet written. The author focuses closely on Sir Kenneth Clark's influential War Artists' Advisory Committee and explores topics ranging from censorship to artists' finances, from the depiction of women as war workers to the contributions of war art to evolving notions of national identity and Britishness. Lively and insightful, the book adds new dimensions to the study of British art and cultural history.

The “exquisite and richly illustrated” New York Times bestseller from the renowned makeup artist, “a retrospective written for all women, everywhere” (Vogue France). Makeup, as we know it, has only been commercially available in the last 100 years, but applying decoration to the face and body may be one of the oldest global social practices. In Face Paint, Lisa Eldridge reveals the entire history of the art form, from Egyptian and Classical times up through the Victorian age and golden era of Hollywood, and also surveys the cutting-edge makeup science of today and tomorrow. Face Paint explores the practical and idiosyncratic reasons behind makeup’s use, the actual materials employed over generations, and the glamorous icons that people emulate, it is also a social history of women and the ways in which we can understand their lives through the prism and impact of makeup. “Makeup artist and Lancome global creative director Lisa Eldridge drops serious knowledge in Face Paint, her book on the history of beautifying.” —Marie Claire “Clear your coffee table and turn off YouTube—Lisa Eldridge’s book is a must read.” —Teen Vogue “The book is not only rich with history but also with a series of paintings, sketches and photographs in an intense array of colors, selected by the make-up artist herself in the most aesthetically pleasing universal statement to women you’ll ever see.” —Vogue France “Face Paint delves into the history of makeup, with glossy pictures to match . . . the book’s cover is striking.” —New York Post

The men who served with in the 1st Infantry Division with F company, 52nd Infantry, (LRP) later redesignated as Company I, 75th Infantry (Ranger) --engaged in some of the fiercest, bloodiest fighting during the Vietnam War, suffering a greater relative aggregate of casualties that any other LRRP/LRP/ Ranger company. Their base was Lai Khe, within hailing distance of the Vietcong central headquarters, a mile inside Cambodia, with its vast stockpiles of weapons and thousands of transient VC and NVA soldiers. Recondo-qualified Bill Goshen was there, and has written the first account of these battle-hardened soldiers. As the eyes and ears of the Big Red One, the 1st Infantry, these hunter/killer teams of only six men instered deep inside enemy territory had to survive by their wits, or suffer the deadly consequences. Goshen himself barely escaped with his life in a virtual suicide mission that destroyed half his team. His gripping narrative recaptures the raw courage and sacrifice of American soldiers fighting a savage war of survival: men of all colors, from all walks of life, warriors bonded by triumph and tragedy, by life and death. They served proudly in Vietnam, and their stories need to be told.

For the Anishinaabeg—the indigenous peoples of the Great Lakes—literary writing has long been an important means of asserting their continued existence as a nation, with its own culture, history, and sovereignty. At the same time, literature has also offered American writers a way to make the Anishinaabe Nation disappear, often by relegating it to a distant past. In this book, Adam Spry puts these two traditions in conversation with one another, showing how novels, poetry, and drama have been the ground upon which Anishinaabeg and Americans have clashed as representatives of two nations contentiously occupying the same land. Focusing on moments of contact, appropriation, and exchange, Spry examines a diverse range of texts in order to reveal a complex historical network of Native and non-Native writers who read and adapted each other's work across the boundaries of nation, culture, and time. By reconceiving the relationship between the United States and the Anishinaabeg as one of transnational exchange, Our War Paint Is Writers' Ink offers a new methodology for the study of Native American literatures, capable of addressing a long history of mutual cultural influence while simultaneously arguing for the legitimacy, and continued necessity, of indigenous nationhood. In addition, the author reexamines several critical assumptions—about authenticity, identity, and nationhood itself—that have become common wisdom in both Native American and US literary studies.

It is 1942, and the sleepy English village of Padmore has been hit with a bomb in the shape of the new schoolteacher, Kay Roper. Forthright, eccentric, her face made up in "glorious Technicolour," Miss Roper has the villagers in thrall. Her girls worship the ground she walks on, the women hang on her every word, and the men languish in the trail of her Parisian perfume. But questions surround her: Why does a well-bred woman have an ointment for crabs at the ready when a colleague runs screaming from the school toilets? How can she breed sexual revolution yet never be seen to practice it? Why does she rail against "the gangrene of fascism" yet fraternize with the Italians in the local POW camp? These paradoxes, so tantalizing and liberating for the inhabitants of Padmore, unravel years later to reveal that Kay Roper had more secrets than anyone dreamed. Selected as one of the Books of the Year by London's Daily Telegraph, War Paint is a compelling, compassionate, and refreshingly witty novel centered around one of the most unforgettable characters to emerge in recent fiction.

Photographs reveal the themes and patterns used by American airmen to individualize their planes

"Haunting ... teems with raw emotion, and McCullough deftly captures the experience of learning to behave in a male-driven society and then breaking outside of it."—The New Yorker "I will be haunted and empowered by Artemisia Gentileschi's story for the rest of my life."—Amanda Lovelace, bestselling author of the princess saves herself in this one A William C. Morris Debut Award Finalist 2018 National Book Award Longlist Her mother died when she was twelve, and suddenly Artemisia Gentileschi had a stark choice: a life as a nun in a convent or a life grinding pigment for her father's paint. She chose paint. By the time she was seventeen, Artemisia did more than grind pigment. She was one of Rome's most talented painters, even if no one knew her name. But Rome in 1610 was a city where men took what they wanted from women, and in the aftermath of rape Artemisia faced another terrible choice: a life of silence or a life of truth, no matter the cost. He will not consume my every thought. I am a painter. I will paint. Joy McCullough's bold novel in verse is a portrait of an artist as a young woman, filled with the soaring highs of creative inspiration and the devastating setbacks of a system built to break her. McCullough weaves Artemisia's heartbreaking story with the stories of the ancient heroines, Susanna and Judith, who become not only the subjects of two of Artemisia's most famous paintings but sources of strength as she battles to paint a woman's timeless truth in the face of unspeakable and all-too-familiar violence. I will show you what a woman can do. ★"A captivating and impressive."—Booklist, starred review ★"Belongs on every YA shelf."—SLJ, starred review ★"Haunting."—Publishers Weekly, starred review ★"Luminous."—Shelf Awareness, starred review