汉斯·梅姆林（约1433年-1494年）长期以来被认为是个小众画家，他并非宫廷画家，而是个资产阶级画家。他在十七世纪被人遗忘，而如今，梅姆林却被认为是15世纪伟大的北欧画家之一，这主要得益于他的肖像画中现实主义和理想主义的完美平衡。他的作品常常是双连画、三联画或祭坛作品，展示出了可以与凡·艾克媲美的精湛技巧。他对于细节的把控、精确的绘制、技巧的精通和对创作的灵感都在他恢宏的作品中展现得淋漓尽致，诸如《后的审判》、《圣凯瑟琳神秘的婚姻》、《圣母玛利亚的七喜》。以梅姆林毕生作品中*代表性的作品为例，他的作品通过人物细腻的面部和冷静的姿态，来表现这一重要艺术家的复杂而精湛的技艺。

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

在弗里达·卡罗（Frida?Kahlo）的自画像背后，是她一生的故事。也正是因此，读者会被这本画集所深深吸引。弗里达的作品是她生命的记录，很少有艺术家如同弗里达一样，能够让我们从画框之间获得如此多的东西。弗里达·卡罗确实是墨西哥艺术史的礼物。当她年仅十八岁的时候，一场严重的车祸永远地改变了她的生命，她自此以后被残疾和频繁的疼痛所困扰。但是弗里达那火爆的个性、天然的决心和勤奋的工作造就了她的艺术才能。即使是花花公子的伟大画家迭戈·里维拉（Diego Rivera）也深深迷恋着她。弗里达靠自身的魅力、才能和智慧赢得了迭戈·里维拉，她也学会了依靠里维拉的成功来探索世界，从而在一群紧密的友人之中创造了自己独特的风格。她的私生活极其混乱，一方面她常常摆脱与迭戈的关系，另一方面她也深陷双性恋之中。不仅如此，弗里达和迭戈还不断拯救着他们之间分崩离析的关系。弗里达留给我们的故事和绘画作品为我们诠释了一个女人不断发现自我的勇者历程。

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.

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。

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.

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。

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。

Reflecting their owner’s taste and serving as an impressive exhibition space for visitors, cabinets of curiosities were a place of interest in the houses of the wealthy in the 16th an 17th centuries. Displaying rare vegetable and animal species and fossils, these cabinets were always dedicated to science and knowledge. By collecting uncommon and beautiful objects in nature, rich noblemen were able to build a microcosm expressing the diversity of God’s creation.

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。

Each of the four sections of this book refers to a span of at least ten years. Each subsection, usually covering one year, opens by noting historical events relative at least indirectly to Pollock, or offers some significant backdrop to his life. Events named within that year are not necessarily presented here in strict chronological order. This book should not be relied on for trying to create a strict chronology of details.

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.

阿尔布雷特·丢勒（Albrecht Durer，1471-1528）是北部文艺复兴中*创新性的代表人物之一，他改革了宗教画和世俗画中的风景和肖像的绘画技巧。这本著作精选了不同类型的丢勒作品，紧致小巧的形式也成为了献给每一位艺术爱好者的完美赠礼。

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。

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

在超现实主义艺术家中，毫无疑问，萨尔多瓦·达利（Salvador?Dalí?）是为多产的、为有名的，他创作了很多20世纪*标示性的形象。

Mega Square Sculpture spans over 23,000 years and over 120 examples of the most beautiful sculptures in the world: from prehistoric art and Egyptian statues to the works of Michelangelo, Henry Moore and Niki de Saint-Phalle. It illuminates the wide variety of materials used and the evolution of styles over centuries, as well as the peculiarities of the most important sculptors.

维也纳分离派预示着一场变革。这一学派拥有约二十位才华横溢的艺术家，他们持不同意见，反对保守的学院派画风，认为学院派的风格僵化了维也纳和当时的奥匈帝国。受到新艺术运动的影响，克林姆（Klimt）、莫尔（Moll）和霍夫曼（Hoffmann）在1897年创造了分离派，这并非是一场匿名的艺术革命。因为本质上的不同，分离派将自身定义为“完全艺术”。没有受到任何政治或商业的限制，分离派运动更加类似于哲学运动，是一种以意识形态的风暴来影响工匠、建筑师、图形艺术家和设计师。艺术家们从功成名就的艺术中抬起头来，将目光投放在大量装饰性的植物、仙女之中。他们拥抱唯美主义；当然，这些情色的力量只会冒犯当时的官僚阶级。在这本书中，作者谈到了绘画、雕塑、建筑，强调了分离派运动的多样性和丰富性，正如他们那明确有力的口号：“为时代的艺术，为艺术应得的自由”，阐释了创新性和创造力。

Symbolism appeared in France and Europe between the 1880s and the beginning of the 20th century. The Symbolists, fascinated with ancient mythology, attempted to escape the reign of rational thought imposed by science. They wished to transcend the world of the visible and the rational in order to attain the world of pure thought, constantly flirting with the limits of the unconscious. The French Gustave Moreau, Odilon Redon, the Belgians Fernand Khnopff and Félicien Rops, the English Edward Burne-Jones and Dante Gabriel Rossetti, and the Dutch Jan Toorop are the most representative artists of the movement.

在维多利亚时代，工业革命席卷了英格兰。诸如威廉·莫里斯（William Morris）的拉斐尔前派艺术家们以及工艺美术运动激发了回到传统价值观的灵感。带着重新树立意大利文艺复兴的纯正和高贵形式的愿望，包括约翰·艾佛雷特·米莱（John Everett Millais）、但丁·加百列·罗塞蒂 （Dante Gabriel Rossetti）、爱德华·伯恩·琼斯（Edward Burne-Jones）的艺术家们更加偏爱现实主义和圣经主题。这本著作以翔实的内容和丰富的阐释，热情洋溢地描述了这场激发了象征主义和新艺术主义的运动。