A darkly brilliant first novel that imagines a missing chapter in the life of Ovid. Why was Ovid, the most popular author of his day, banished to the edges of the Roman Empire? Why do only two lines survive of his play Medea, reputedly his most passionate work and perhaps his most Accomplished? Between the known details of the poet's life and these enigmas, Jane Alison has Interpolated a haunting drama of passion and psychological manipulation. On holiday at the Black Sea, on the fringes of the Empire, Ovid encounters an almost otherworldly woman who seems to embody the fictitious creations of his soon-to-be-published Metamorphoses. Part healer, part witch, she seems myth come to life. Enchanted and obsessed -- and, for the first time in a long while, flush with inspiration -- Ovid takes her back with him to Rome. But the inexorable pull of ambition leads him to make a Faustian bargain with fate that will betray his newfound muse. As the two of them become entangled in its snares, the reader is drawn deep into an ingeniously enacted meditation on love, art, and the desire for immortality.

A darkly brilliant first novel that imagines a missing chapter in the life of Ovid, the most popular author of his day. Between the known details of the poet's life and these enigmas, Alison has interpolated a haunting drama of passion and psychological manipulation.

This is an art book which highlights the possibility of using natural, organic materials as art supplies and inspiration.

This is a full-scale commentary devoted to the third book of Ovid's Ars Amatoria. It includes an Introduction, a revision of E. J. Kenney's Oxford text of the book, and detailed line-by-line and section-by-section commentary on the language and ideas of the text. Combining traditional philological scholarship with some of the concerns of more recent critics, both Introduction and commentary place particular emphasis on: the language of the text; the relationship of the book to the didactic, 'erotodidactic' and elegiac traditions; Ovid's usurpation of the lena's traditional role of erotic instructor of women; the poet's handling of the controversial subjects of cosmetics and personal adornment; and the literary and political significances of Ovid's unexpected emphasis in the text of Ars III on restraint and 'moderation'. The book will be of interest to all postgraduates and scholars working on Augustan poetry.

A tender and wise ode to love, illustrated with an expertly curated selection of fine art for young children Art, like anything else, is only as meaningful and interesting as it is relatable. For toddlers and preschoolers, connecting their own experiences of love to those they see on the canvas allows them to truly engage with the material. 35 full-page artworks feature love in all its forms, accompanied by a brief and gentle read-aloud text. Each artwork's title and artist's name are included as secondary read-aloud text, for true integration of narrative and information. This stylishly compact art book is this first title in the My Art Book series, which suits lovey and artsy families alike! Ages 2-4

Meet the boy who can't stop creating art! He loves colours, shapes, textures and EVERYTHING inspires him: his socks, the contents of the fridge, even his cat gets a new coat (of paint!). But there's just one problem: his mum isn't quite so enthusiastic. In fact, she seems a little cross! But this boy has a plan to make his mum smile. He's about to create his finest piece yet and on a very grand scale . . . Funny, irreverent and perfect for creative children and adults, I Am An Artist by Marta Altés is a sharp, silly, fabulous book which shows that art is EVERYWHERE!

Hugo Marston, head of security for the U.S. Embassy in Paris, puts his life in danger when he investigates the murder of a celebrated artist, all the while fending off an assassin looking to settle an old score against him. Hugo Marston accompanies his boss, US Ambassador J. Bradford Taylor, to the first night of an art exhibition in Montmartre, Paris. Hugo is less than happy about going until he finds out that the sculptures on display are made from his favorite medium: books. Soon after the champagne starts to flow and the canapes are served, the night takes a deadly turn when one of the guests is found murdered. Hugo lingers at the scene and offers his profiling expertise to help solve the crime, but the detective in charge quickly jumps to his own conclusions. He makes an arrest, but it's someone that Hugo is certain is innocent. Meanwhile, his best friend, Tom Green, has disappeared to Amsterdam, hunting an enemy from their past, an enemy who gets the upper hand on Tom, and who then sets his sights on Hugo. With an innocent person behind bars, a murder to solve, and his own life in danger, Hugo knows he has no time to waste as one killer tries to slip away, and another gets closer and closer.

When reclusive, millionaire artist Robert Indiana died in 2018, he left behind dark rumors and scandal, as well as an estate embroiled in lawsuits and facing accusations of fraud. Here is the true story of the artist's final days, the aftermath, the deceptive world that surrounded him, and the inner workings of art as very big business. "I'm an artist, not a business man," Robert Indiana said, refusing to copyright his iconic LOVE sculpture in 1965. An odd and tortured soul, an artist who wanted both fame and solitude, Indiana surrounded himself with people to manage his life and work. Yet, he frequently changed his mind and often fired or belittled those who worked with him. By 2008, when Indiana created the sculpture HOPE--or did he?--the artist had signed away his work for others to exploit, creating doubt about whether he had even seen artwork sold for very high prices under his name. At the time of his death, Indiana left an estate worth millions--and unsettling suspicions. There were allegations of fraudulent artwork, of elder abuse, of caregivers who subjected him to horrendous living conditions. There were questions about the inconclusive autopsy and rumors that his final will had been signed under coercion. There were strong suspicions about the freeloaders who'd attached themselves to the famous artist. "In the final hours of his life," the author writes, "Robert Indiana was without the grace of a better angel, as the people closest to him covered their tracks and plotted their defenses." With unparalleled access to the key players in Indiana's life, author Bob Keyes tells a fast-paced and riveting story that provides a rare inside look into the life of an artist as well as the often, too often, unscrupulous world of high-end art. The reader is taken inside the world of art dealers, law firms, and an array of local characters in Maine whose lives intersected with the internationally revered artist living in an old Odd Fellows Hall on Vinalhaven Island. The Last Days of Robert Indiana is for anyone interested in contemporary art, business, and the perilous intersection between them. It an extraordinary window into the life and death of a singular and contradictory American artist--one whose work touched countless millions through everything from postage stamps to political campaigns to museums--even as he lived and died in isolation, with a lack of love, the loss of hope, and lots and lots of money.

A tender affair and the redemptive power of art are at the core of this compelling novel from National Book Award finalist Allegra Goodman, “a romantic realist who dazzles with wit [and] compassion” (The Wall Street Journal). Collin James is young, creative, and unhappy. A college dropout, he waits tables and spends his free time beautifying the streets of Cambridge, Massachusetts, with his medium of choice: chalk. Collin’s art captivates passersby with its vibrant colors and intricate lines—until the moment he wipes it all away. Nothing in Collin’s life is meant to last. Then he meets Nina. . . . The daughter of a tech mogul who is revolutionizing virtual reality, Nina Lazare is trying to give back as a high school teacher—but her students won’t listen to her. When Collin enters her world, he inspires her to think bigger. Nina wants to return the favor—even if it means losing him. Against this poignant backdrop, Allegra Goodman paints a tableau of students, neighbors, and colleagues: Diana, a teenage girl trying to make herself invisible; her twin brother, Aidan, who’s addicted to the games produced by Nina’s father; and Daphne, a viral-marketing trickster who unites them all, for better or worse. Wise, warm, and enchanting, The Chalk Artist is both a finely rendered portrait of modern love and a celebration of all the realms we inhabit: real and imagined, visual and virtual, seemingly independent yet hopelessly tangled. Praise for The Chalk Artist “The virtual world Goodman conjures is as feverishly vivid as it is mysterious and alluring. Not since I pushed my way through C. S. Lewis’s fusty mothballed wardrobe and stepped out into the frozen, pine-scented forests of Narnia can I remember being so effectively transported into a viscerally, sometimes terrifyingly plausible alternate universe. . . . This is a novel full of wit and spark. . . . Irresistible and arresting.”—The New York Times Book Review “Enjoyably sharp dialogue and convincing portraits of multiple mindsets and terrains . . . One can’t help but marvel at how Goodman has captured the atmosphere of this virtual fantasy land so effectively in words.”—NPR “Mesmerizing depictions of virtual-reality landscapes of ‘Neverwhen’ and ‘Underworld’ make the games’ dangerous power over one of Nina’s students very real.”—People “Goodman’s latest combines fantastical flourishes (an imagined video game called ‘Underworld’) and realistic Cambridge details . . . in a narrative about art and ambition.”—The Boston Globe “Allegra Goodman creates suspense where you might least expect to find it.”—The Atlantic