古斯塔夫·克林姆(Gustav Klimt)初因其采用的装饰花纹闻名（与他的兄弟及其在艺术学校的伙伴弗朗茨·马什共同创作）。因为大多剧院和重要的维也纳艺术史博物馆（在他的时代是重要的）均采用的是玛卡特（Makart）式的冷色调摄影风格。在他三十岁的时候他有了自己的工作室，并且开始了架上绘画。在三十五岁的时候，他成为了维也纳分离派的奠基人之一。在八年之后，在对自然主义日益强势的趋势倍感失望的情况下，他离开了这一领域。

米开朗基罗（Michelangelo）的名字不断浮现在西斯廷教堂、阿波罗、丘比特等数不计数的杰作中。在《意大利绘画》（The Italian Painting）这本书中，作者司汤达写道：“在古希腊风物和米开朗基罗之间，没有任何距离，除了或多或少技术娴熟的伪造物。”在《漫步罗马》（Promenade in Rome）一书中，沙特布莱表达了对《圣母怜子像》（Pieta）中那些精致的线条的崇敬之情。诸如司汤达等大连古欧秀的作家将米开朗基罗视为西方艺术复兴的大家之一。毫无疑问，米开朗基罗的作品经历住了时间的考验。在若干年后，米开朗基罗的作品何以能够揭示希腊先驱们的创造性来源？米开朗基罗是创造性的天才和超人，是意大利文艺复兴中无与伦比的艺术家，他的影响力和成就与达芬奇可相媲美。在这本著作中， Jean-Matthieu Gosselin探讨了米开朗基罗所有的身份：雕塑家、建筑师、画家和美术家。

Those who have had the chance to hold a medieval manu* in their hands cannot fail to have been impressed by the feeling of being in touch with a long-passed epoch. Back when a book was a true handicraft and every copy the result of a laborious process, the object was more a work of art than a volatile commercial product. The Mega Square Illuminated Manu*s puts the reader in touch with amazing medieval illustrations and unique adornments, which document the imaginative power of their creators.

花朵至今仍活在我们绘画艺术中的核心部分。从布勒哲尔到奥基芙，花朵激发了无数艺术家的灵感，也成就了不少杰作。这一创作主题至始至终都受人欢迎。这本书与Mega Square精巧实用的形式相结合，必将是一份完美而特殊的礼物。

让我们去发现保罗·塞尚（Paul Cezanne）的作品，他对于技巧和形式的探讨定义了绘画的后印象主义运动，也为立体主义的出现搭建了艺术的舞台。他大胆地运用亮丽的色彩，影响了之后好几代艺术家，也让今天的我们感到惊喜和愉悦。这本Mega Square收录了大量这位重要的法国画家的作品——当然，对于任何一位艺术粉丝来说，都是一份至上的礼物。

Mega Square版的《植物标本》是基于巴西利厄斯·贝斯莱尔（Basilius Besler）的作品。贝斯莱尔是著名的植物专家，也是历史上描写、绘画和雕刻了上千种植物的人。Mega Square将是一份理想的礼物，在一本精巧实用的小册子里充满了有趣而另类的话题。

爱是不可忽视的永恒的话题，一直以来吸引着无数艺术家。画家、雕刻家、甚至建筑师也从中获得灵感，用艺术来阐释爱。这个万古长青的话题催生了艺术家们一生的杰作。从提香（Titian）的《出世与入世之爱》（Sacred and Profane Love）到布朗库西（Brancusi）的《吻》（Kiss），爱随着时间和风格变幻无穷，但是终仍停留在永恒和普世的语言之中。这本书为我们阐释了爱的力量和变化。

Rembrandt van Rijn (1606-1669) has long been considered one of the greatest artists in European history. His paintings have launched imitations and homages, including best-selling novels, a recent TV series, and even a handful of popular films. Now, for the first time, this lovely text by ?mile Michel is paired with carefully curated selections from Rembrandt’s portfolio to illuminate the history and work of this celebrated master of light.

鲁本斯，巴洛克绘画繁荣时期伟大的艺术巨匠，从意大利文艺复兴中汲取了所有对其有用的精华，从而建立起了自己的风格。这个来自北方的艺术家希望并且实现了将佛兰德艺术与拉丁艺术融合起来，却不失自己热情四溢的个性与不断探索的想象力以及作为伟大色彩大师的醉人发现。他的风格以对人体形态的绝妙把握和对华丽的明亮色彩极为丰富的运用而著名。对自己理智*自信的鲁本斯像个深受信任的使者带着浮夸的举止旅行于各个国家之间，因此也习惯了宫廷的生活。如果说米开朗基罗是激情澎湃的代表，那么鲁本斯也可以被认作是描绘生活喜悦和生机的高产代表。

塞尚成为19世纪著名的日常静物写生的画家，其强烈的风格无人可以匹敌。当搬到巴黎，受到雷诺阿的鼓舞之后，这位普罗旺斯艾克斯出生的画家与印象派画家们一起在1874年和1877年开了画展，尽管他遭受到评论的嘲讽和伤害。塞尚的雄心，用他自己的话来说，是“创作出可以留在博物馆的坚实不催的印象主义画作”。不久之后，孤独寂寞的塞尚退隐到普罗旺斯，忧郁和无助常常侵袭而来。他变得野蛮而挑剔，撕毁画布，扔到画室外，丢弃到树林田间，或剪碎给儿子拼图玩，或丢给艾克斯当地人。1906年他因在一场大雨中作画，高烧去世，之后不久，他的作品得到了晚来的认同。

古斯塔夫·克林姆(Gustav Klimt)初因其采用的装饰花纹闻名（与他的兄弟及其在艺术学校的伙伴弗朗茨·马什共同创作）。因为大多剧院和重要的维也纳艺术史博物馆（在他的时代是重要的）均采用的是玛卡特（Makart）式的冷色调摄影风格。在他三十岁的时候他有了自己的工作室，并且开始了架上绘画。在三十五岁的时候，他成为了维也纳分离派的奠基人之一。在八年之后，在对自然主义日益强势的趋势倍感失望的情况下，他离开了这一领域。

“Father Pissarro”, as his friends liked to call him, was the most restrained of the artists of the Impressionist movement. Perhaps it was his age, being older than his fellow artists Monet, Sisley, Bazille, and Renoir, or rather his maturity, which resulted in his works having such serene and sober subjects and compositions. A man of simple tastes, he enjoyed painting peasants going about their daily lives. However, Pissarro owes his belated fame to his urban landscapes, which he treated with the same passion he used to paint beautiful stormy skies and frost-whitened mornings.

浮世绘是日本江户时代繁荣时期（1615-1868）兴起的一种独特的民族艺术。浮世绘是这一时代的特色，它是艺术家、雕刻家和印花家共同创作的成果。因为技术进步、创作成本降低，浮世绘的创作展示了人们的日常生活，女人、歌舞伎甚至是相扑手，还有美景也都是浮世绘作品所偏爱的主题。菱川师宣（他享有浮世绘始祖的桂冠）、胜川春章、喜多川歌麿、葛饰北斋，甚至是歌川广重都是这场运动中负盛名的艺术家。1868年，日本明治维新，对西方开放。浮世绘精湛的技艺、细腻的作品、生动的刻画，深深地吸引了西方世界，影响了印象主义的大师，例如梵高，例如克林姆。这就是所谓的“日本主义”时期。冯赛德利茨（Woldemar von Seidlitz）和多拉·阿姆斯登（Dora Amsden）含蓄地强调了这一运动对于整个西方艺术的重大影响。这本书中重要的作品勾勒了女性理想、上帝之位和顺应山水自然之景的重要性，而这些同样成为了对于早期社会的不可多得的见证。

你很难将保罗克利（Paul Klee）归类到某个艺术史上的运动。与瓦西里康定斯基（Wassily Kandinsky）和弗兰茨马尔克（Franz Marc）类似，克利曾是表现主义画家团体蓝骑士（Der Blaue Reiter）的重要成员之一。之后，他又参与到了包豪斯建筑学派之中，甚至在德绍的学校中教授绘画课程。就克利看来，艺术与生产无关，只是为了让事物更加清晰可见。在他的绘画中，克利微妙地融入了二十世纪初的趋势。对于德国的表现主义来说，克利为其注入了立体主义和奥费主义的元素，用超现实主义的忧郁的诗歌来点缀他的作品。 作者带领我们穿越克利世界中的奇迹，画中的每一笔都回响着色彩的力量。

Lacan, the last owner of Courbet’s The Origin of the World, loved the painting so much that he couldn’t even bring himself to look at it. Instead, he hid it behind a “safer” painting. The Chinese called it the “valley of the roses” (watch out for the thorns!), the Persians, the “honey-pot” (watch out for the bees!), and the Greeks, “the mound of Venus” (mind the steep climb!); to each era its fantasies and its theories about the feminine mystique. Then there are the testimonies of poets, painters, and even of some famous psychiatrists. The Origin of the World is a work of art only suitable for lovers of intrigue.

Mega Square In Praise of the Backside celebrates the most sensual part of the female body. The insightful text by Hans-Jürgen Dpp discusses the backside as a feature that stands for both powerful eroticism and supple femininity, seducing famous artists from every genre. This title is sure to entice and delight a wide audience with its lively, provocative images.

如果正如那句有名的谚语所言：“人如其食”，朱塞佩·阿尔钦博托（Giuseppe Arcimboldo，1527—1593年）便是人类灵魂之集大成画家。这位艺术家是大师级的工匠，经过他精致加工的帆布抓住了当代人的想象力。在这本迷人之作之中，Liana De Girolami Cheney带我们近距离地审视阿尔钦博托作品的关键历史时期，从他初小有名气到他死后的默默无闻，再到二十世纪二十年代他的作品备受超现实主义者崇敬而复兴时取得终成功的光辉历程。

Burne-Jones’ oeuvre can be understood as an attempt to create in paint a world of perfect beauty, as far removed from the Birmingham of his youth as possible. At that time Birmingham was a byword for the dire effects of unregulated capitalism – a booming, industrial conglomeration of unimaginable ugliness and squalor. The two great French symbolist painters, Gustave Moreau and Pierre Puvis de Chavannes, immediately recognised Burne-Jones as an artistic fellow traveller. But, it is very unlikely that Burne-Jones would have accepted or even, perhaps, have understood the label of ‘symbolist’. Yet he seems to have been one of the most representative figures of the symbolist movement and of that pervasive mood termed “fin-de-siecle”. Burne-Jones is usually labelled as a Pre-Raphaelite. In fact he was never a member of the Brotherhood formed in 1848. Burne-Jones’ brand of Pre-Raphaelitism derives not from Hunt and Millais but from Dante Gabriel Rossetti. Burne-Jones’ work in the late 1850s i

RA:The Book - The Recording Architecture Book of Studio Design was first published as a single, hardcover volume in 2011 and which has sold in over fifty countries to critical acclaim. A necessarily large format dictated by the detailed drawings it contained, RA:The Book was unavoidably heavy and costly to produce and ship. This iBook version is the first of three stand alone volumes which will hopefully make this essential guide to recording studio design more accessible. It includes a new introduction with previously unavailable photographs. The following de*ion is for the original hardcover: Established by Roger D'Arcy and Hugh Flynn on April 1st 1987 Recording Architecture has risen to become one of the premier recording studio design companies in the world. First Commissioned by ex Def Leppard guitarist Pete Willis for Blue Room studios In Sheffield swiftly followed by projects such as Hulgrave Hall, for composer Keith Hopwood the company has grown to design key installations around the world. Now for the first time they will be publishing a history of these ground breaking designs covering all aspects of architectural, acoustic and interior design of these studios and spaces specifically related to sound on a project by project basis. In a Career spanning Three decades Recording Architecture has virtually unrivalled experience in the design of studios which range in size and purpose from classical orchestral, residential, mixing, mastering, post production, film dubbing, video editing and rehearsal studios over 40 countries worldwide. Stating his desire to expand awareness with the new book Roger D Arcy states Over the years, and perhaps surprisingly, the only available books on recording studio design seem to have been written by individuals with little or no qualified background in Architecture or design in the field - we are trying show the detailed architectural/acoustic input behind a successful design with each studio study showing drawings in large format . This is not a theoretical guide but a detailed presentation of tried and tested techniques as applied to real, built projects in many of the case studies, the actual drawings issued for construction are reproduced. The examples illustrate not only what we think should be done but what was in fact physically (and successfully) implemented in a wide variety of situations from small, private project studios to large, commercial land mark studios such as Lansdowne and CTS. Examples range in scope from individual spaces and rooms to multi studio facilities and cover the two principal strands of recording and mixing: MUSIC studios recording (tracking), mixing and mastering (including cutting) project to orchestral in scale examples have been taken from the private, commercial and educational sectors. POST PRODUCTION studios voice over (dubbing), FX recording ( Foley ), film mix studios (dubbing theatres) from small voice over studios for TV to large Dolby Premier Certified film mix theatres. Contents include hundreds of photographs together with detailed plans and construction drawings - including comprehensive specifications of materials and techniques - showing exactly how these environments were created.

In West Java, Indonesia, all it takes is a woman's voice and a drum beat to make a man get up and dance. Every day, men there-be they students, pedicab drivers, civil servants, or businessmen-breach ordinary standards of decorum and succumb to the rhythm at village ceremonies, weddings, political rallies, and nightclubs. The music the men dance to varies from traditional gong ensembles to the contemporary pop known as dangdut, but they consistently dance with great enthusiasm. In Erotic Triangles, Henry Spiller draws on decades of ethnographic research to explore the reasons behind this phenomenon, arguing that Sundanese men use dance to explore and enact contradictions in their gender identities.Framing the three crucial elements of Sundanese dance-the female entertainer, the drumming, and men's sense of freedom-as a triangle, Spiller connects them to a range of other theoretical perspectives, drawing on thinkers from Eve Kosofsky Sedgwick, Lvi-Strauss, and Freud to Euclid. By granting men permission to literally perform their masculinity, Spiller ultimately concludes, dance provides a crucial space for both reinforcing and resisting orthodox gender ideologies.

Claude Gellée, called Claude Lorrain was neither a great man nor a lofty spirit like Poussin. His genius cannot, however, be denied and he was, like Poussin, a profoundly original inventor within the limitations of a classical ideal. He too spent most of his life in Rome though the art he created was not specifically Italian, but French. For more than two centuries afterwards everyone in France who felt called upon to depict the beauties of nature would think of Lorrain and study his works, whether it be Joseph Vernet in the eighteenth century or Corot in the nineteenth. Outside France it was the same; Lorrain was nowhere more admired than in England. There is an element of mystery in the vocation of this humble and almost illiterate peasant whose knowledge of French and Italian was equally poor, and who used to inscribe on his drawings notes in a strange broken Franco-Italian. This mystery is in some way symbolic of that with which he imbued his pictures, le mystère dans la lumière. T