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Toulouse-Lautrec
￥40.79
Lautrec studied with two of the most admired academic painters of the day, Léon Bonnat and Fernand Cormon. Lautrec’s time in the studios of Bonnat and Cormon had the advantage of introducing him to the nude as a subject. At that time life-drawing of the nude was the basis of all academic art training in nineteenth-century Paris. While still a student, Lautrec began to explore Parisian nightlife, which was to provide him with his greatest inspiration, and eventually undermined his health. Lautrec was an artist able to stamp his vision of the age in which he lived upon the imagination of future generations. Just as we see the English court of Charles I through the eyes of van Dyck and the Paris of Louis-Philippe through the eyes of Daumier, so we see the Paris of the 1890s and its most colourful personalities, through the eyes of Lautrec. The first great personality of Parisian nightlife whom Lautrec encountered – and a man who was to play an important role in helping Lautrec develop his
Whistler
￥40.79
Whistler suddenly shot to fame like a meteor at a crucial moment in the history of art, a field in which he was a pioneer. Like the impressionists, with whom he sided, he wanted to impose his own ideas. Whistler’s work can be divided into four periods. The first may be called a period of research in which he was influenced by the Realism of Gustave Courbet and by Japanese art. Whistler then discovered his own originality in the Nocturnes and the Cremorne Gardens series, thereby coming into conflict with the academics who wanted a work of art to tell a story. When he painted the portrait of his mother, Whistler entitled it Arrangement in Grey and Black and this is symbolic of his aesthetic theories. When painting the Cremorne Pleasure Gardens it was not to depict identifiable figures, as did Renoir in his work on similar themes, but to capture an atmosphere. He loved the mists that hovered over the banks of the Thames, the pale light, and the factory chimneys which at night turned into
Kahlo
￥40.79
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。
Michelangelo
￥40.79
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。
O'Keeffe
￥40.79
In 1905 Georgia travelled to Chicago to study painting at the Art Institute of Chicago. In 1907 she enrolled at the Art Students’ League in New York City, where she studied with William Merritt Chase. During her time in New York she became familiar with the 291 Gallery owned by her future husband, photographer Alfred Stieglitz. In 1912, she and her sisters studied at university with Alon Bement, who employed a somewhat revolutionary method in art instruction originally conceived by Arthur Wesley Dow. In Bement’s class, the students did not mechanically copy nature, but instead were taught the principles of design using geometric shapes. They worked at exercises that included dividing a square, working within a circle and placing a rectangle around a drawing, then organising the composition by rearranging, adding or eliminating elements. It sounded dull and to most students it was. But Georgia found that these studies gave art its structure and helped her understand the basics of abstra
Pollock
￥40.79
Born in 1912, in a small town in Wyoming, Jackson Pollock embodied the American dream as the country found itself confronted with the realities of a modern era replacing the fading nineteenth century. Pollock left home in search of fame and fortune in New York City. Thanks to the Federal Art Project he quickly won acclaim, and after the Second World War became the biggest art celebrity in America. For De Kooning, Pollock was the “icebreaker”. For Max Ernst and Masson, Pollock was a fellow member of the European Surrealist movement. And for Motherwell, Pollock was a legitimate candidate for the status of the Master of the American School. During the many upheavals in his life in Nez York in the 1950s and 60s, Pollock lost his bearings - success had simply come too fast and too easily. It was during this period that he turned to alcohol and disintegrated his marriage to Lee Krasner. His life ended like that of 50s film icon James Dean behind the wheel of his Oldsmobile, after a night of
Goya
￥61.23
Goya is perhaps the most approachable of painters. His art, like his life, is an open book. He concealed nothing from his contemporaries, and offered his art to them with the same frankness. The entrance to his world is not barricaded with technical difficulties. He proved that if a man has the capacity to live and multiply his experiences, to fight and work, he can produce great art without classical decorum and traditional respectability. He was born in 1746, in Fuendetodos, a small mountain village of a hundred inhabitants. As a child he worked in the fields with his two brothers and his sister until his talent for drawing put an end to his misery. At fourteen, supported by a wealthy patron, he went to Saragossa to study with a court painter and later, when he was nineteen, on to Madrid. Up to his thirty-seventh year, if we leave out of account the tapestry cartoons of unheralded decorative quality and five small pictures, Goya painted nothing of any significance, but once in contro
Kirchner
￥61.23
The self-appointed “leader” of the artists’ group Die Brücke (Bridge), founded in Dresden in 1905, Ernst Ludwig Kirchner was a key figure in the early development of German Expressionism. His first works show the influence of Impressionism, Post-impressionism and Jugendstil, but by about 1909, Kirchner was painting in a distinctive, expressive manner with bold, loose brushwork, vibrant and non-naturalistic colours and heightened gestures. He worked in the studio from sketches made very rapidly from life, often from moving figures, from scenes of life out in the city or from the Die Brücke group’s trips to the countryside. A little later he began making roughly-hewn sculptures from single blocks of wood. Around the time of his move to Berlin, in 1912, Kirchner’s style in both painting and his prolific graphic works became more angular, characterized by jagged lines, slender, attenuated forms and often, a greater sense of nervousness. These features can be seen to most powerful effect in
Picasso
￥61.23
Picasso was born a Spaniard and, so they say, began to draw before he could speak. As an infant he was instinctively attracted to artist’s tools. In early childhood he could spend hours in happy concentration drawing spirals with a sense and meaning known only to himself. At other times, shunning children’s games, he traced his first pictures in the sand. This early self-expression held out promise of a rare gift. Málaga must be mentioned, for it was there, on 25 October 1881, that Pablo Ruiz Picasso was born and it was there that he spent the first ten years of his life. Picasso’s father was a painter and professor at the School of Fine Arts and Crafts. Picasso learnt from him the basics of formal academic art training. Then he studied at the Academy of Arts in Madrid but never finished his degree. Picasso, who was not yet eighteen, had reached the point of his greatest rebelliousness; he repudiated academia’s anemic aesthetics along with realism’s pedestrian prose and, quite naturall
Pottery Analysis, Second Edition
￥453.22
Just as a single pot starts with a lump of clay, the study of a piece's history must start with an understanding of its raw materials. This principle is the foundation of Pottery Analysis, the acclaimed sourcebook that has become the indispensable guide for archaeologists and anthropologists worldwide. By grounding current research in the larger history of pottery and drawing together diverse approaches to the study of pottery, it offers a rich, comprehensive view of ceramic inquiry.This new edition fully incorporates more than two decades of growth and diversification in the fields of archaeological and ethnographic study of pottery. It begins with a summary of the origins and history of pottery in different parts of the world, then examines the raw materials of pottery and their physical and chemical properties. It addresses ethnographic and ethnoarchaeological perspectives on pottery production; reviews the methods of studying pottery's physical, mechanical, thermal, mineralogical, and chemical properties; and discusses how proper analysis of artifacts can reveal insights into their culture of origin. Intended for use in the classroom, the lab, and out in the field, this essential text offers an unparalleled basis for pottery research.
Poet's Freedom
￥229.55
Why do we need new artHow free is the artist in makingAnd why is the artist, and particularly the poet, a figure of freedom in Western cultureThe MacArthur Award-winning poet and critic Susan Stewart ponders these questions in The Poet's Freedom. Through a series of evocative essays, she not only argues that freedom is necessary to making and is itself something made, but also shows how artists give rules to their practices and model a self-determination that might serve in other spheres of work.Stewart traces the ideas of freedom and making through insightful readings of an array of Western philosophers and poets-Plato, Homer, Marx, Heidegger, Arendt, Dante, and Coleridge are among her key sources. She begins by considering the theme of making in the Hebrew Scriptures, examining their accountof a god who creates the world and leaves humans free to rearrange and reform the materials of nature. She goes on to follow the force of moods, sounds, rhythms, images, metrical rules, rhetorical traditions, the traps of the passions, and the nature of language in the cycle of making and remaking. Throughout the book she weaves the insight that the freedom to reverse any act of artistic making is as essential as the freedom to create.?A book about the pleasures of making and thinking as means of life, The Poet's Freedom explores and celebrates the freedom of artists who, working under finite conditions, make considered choices and shape surprising consequences. This engaging and beautifully written notebook on making will attract anyone interested in the creation of art and literature.
A Grammar of Murder
￥282.53
The dark shadows and offscreen space that force us to imagine violence we cannot see. The real slaughter of animals spliced with the fictional killing of men. The missing countershot from the murder victim's point of view. Such images, or absent images, Karla Oeler contends, distill how the murder scene challenges and changes film.?Reexamining works by such filmmakers as Renoir, Hitchcock, Kubrick, Jarmusch, and Eisenstein, Oeler traces the murder scene's intricate connections to the great breakthroughs in the theory and practice of montage and the formulation of the rules and syntax of Hollywood genre. She argues that murder plays such a central role in film because it mirrors, on multiple levels, the act of cinematic representation. Death and murder at once eradicate life and call attention to its former existence, just as cinema conveys both the reality and the absence of the objects it depicts. But murder shares with cinema not only this interplay between presence and absence, movement and stillness: unlike death, killing entails the deliberate reduction of a singular subject to a disposable object. Like cinema, it involves a crucial choice about what to cut and what to keep.
Sorcery in the Black Atlantic
￥253.10
Girls abused in London and torsos of black boys found in the Thames; African boys disappearing from school and child traffic in Africa; child sacrifice and Brazilian Pentecostal exorcism. Unrelated events are swiftly connected in an uncanny work of prestidigitation, including hitech digital images of torsos and forensic drawings of abused children. Les correspondances symboliques, Baudelaire would say, or contiguous magic, in Frazer’s more prosaic de*ion. It all could make sense, if we believe in our fears, suspicions, gossip, and prejudices. Furthermore, this incredible work of prestidigitation was engineered by two respectable institutions, known for their enlightened search of truth: the BBC and Scotland Yard. But where was the evidence that all these things were connectedThe “exorcism scandal” bewitched the media in Britain for the whole month of June, until some dissenting voices started to talk about a “racist witch hunt.” 5 By then, however, a population of hundreds of thousands of Africans, in particular Pentecostal Africans, was already under suspicion. “What if some of that was true?” some people still may ask. In fact, shortly before completing this introduction, the local London newspaper Evening Standard published a two-page report on an African church in the United Kingdom, with the title “Miracles and claims of baby-snatching,” mixing rumors of child trafficking, sorcery, syncretism, and extreme wealth. 6 That is how sorcery works: not by fully demonstrating its power, but by opening a possible doubt; one is never fully sure it is not true.
Broadside e-books
￥109.31
It's hard to remember the dark days before 2008. It was a time of hatred, racism, violence, obese children, war, untaxed rich people, and incandescent light bulbs -- perhaps the worst days we had ever seen. And at the heart of it all was a thuggish, thoughtless man, George W. Bush, who lashed out angrily at whatever he didn't understand -- and he understood so very little. Then there was that laugh of his -- that horrible snicker that mocked everything intelligent and nuanced. Also, he looked like a chimp. It seemed like the end for the United States of America. We would crumble in the hands of vicious, superstitious dimwits determined to hunt "ter'ists" or other figments of Bush's rotten mind. There was nothing left to do but head to Whole Foods to prepare our organic, sustainable, fair-trade last meal as the country ended around us. Despair had overtaken us, and we wondered aloud whether we could ever feel hope again. And then a man emerged who firmly answered, "Yes we can!" Oh, but Barack Obama was no mere man. He was a paragon of intelligence and civilized society. A savior to the world's depressed. A lightbringer. A genius thinking thoughts the common man could never hope to comprehend. And his words -- his beautiful words read from crystal panes -- reached down to our souls and told us all would be well. With the simple act of casting a ballot for Barack Obama, we could make the world an immeasurably better place -- a world of peace, of love, of understanding, of unicorns, of rainbows, of expanded entitlements. This was his promise. And now, having had him as president for more than two years, we can say without reservation that he has delivered all his promises and more and is the best president this country -- or any country -- has ever had or could even imagine to have.
Fifteen Candles
￥84.05
For the uninitiated, the quincea era celebrates the passage of a fifteen-year-old girl into adulthood: It's a bit bat mitzvah with a dash of debutante ball, and loaded with the same potential for hilarity and adolescent angst. In this original anthology, fifteen of the brightest and funniest Latino writers, men and women alike, share their own memories of these moving and often absurd extravaganzas tales of that unique form of familial humiliation that is borne of the best intentions, fierce love, and the infectious joy of parents finally allowing their little girl to grow up.
Why Girls Can't Throw
￥72.70
Warning: the truth can be shocking, seductive, offensive, outrageous...even disgusting!Are you perplexed by the mysteries of the universe, confounded by the workings of the human body, prone to pondering the great imponderablesAt long last, the answers are here for every inquiring mind that's not afraid to face up to the cold, hard facts of life. The author who brought you That Book . . . of Perfectly Useless Information now addresses the quirky, the eclectic, and the essential conundrums of our age in Why Girls Can't Throw . . . and Other Questions You Always Wanted Answered, including: What's the kindest way to tell a friend he has halitosisIs it cheaper to send yourself as a package to Australia rather than fly on an airplaneAre there any benefits to smokingIs it true that Keith Richards used to regularly replace all the blood in his body?
NYC Basic Tips and Etiquette
￥72.71
Living in New York City for five years as a transplant from Ohio, illustrator and T-shirt designer Nathan Pyle was fascinated by the unique habits and unspoken customs New Yorkers follow to make life bearable in a city with 8 million people (and seemingly twice the number of tourists). Nathan decided to draw his favorite tips and etiquette lessons and post them on the internet, where his 12 original panels went viral immediately and became the basis for this hilarious illustrated book (check out the fully animated ebook, too!).In NYC Basic Tips and Etiquette, Pyle reveals the secrets and unwritten rules for living in and visiting New York including the answers to such burning questions as, which cabs should I try to hailWhat is a bodegaWhich way is UptownWhy are there so many doors in the sidewalkHow do I walk on an escalatorDo we need to be touching right nowWhere should I inhale or exhale while passing sidewalk garbageHow long should I honk my hornIf New York were a game show, how would I winWhat happens when I stand in the bike laneWho should get the empty subway seatsHow do I stay safe during a trash tornadoEach tip is a little story illustrated in simple black and white drawings.Visitors and newcomers to New York will love it because the advice is smart, funny, and not condescending. New Yorkers will love it for its strategic and humorous approach to mastering the daily chaos of the city.
Enough About You
￥67.09
The Complete Narcissist's GuideMimi E. Gotist delivers a gift for our times: practical, simple guidance to help you cope with the self-loving people in your life-while nurturing your own inner narcissist.At once utterly self-absorbed, and charmingly aware of it, Gotist offers advice on: Dating: You're not looking for the person you want to marry -- you're looking for the person you want to change Career: Don't work -- work it Spirituality: Me Here Now Personal Growth: You can't help anyone who won't help you
It's Not Easy Bein' Me
￥77.49
An American comic icon tells the story of his second act rise from obscurity to multimedia stardom. "When I was a kid," writes Rodney Dangerfield, "I worked tough places in show business places like Fonzo's Knuckle Room. Or Aldo's, formerly Vito's, formerly Nunzio's. That was a tough joint. I looked at the menu. They had broken leg of lamb." For once, one of America's most beloved comic icons isn't kidding. Dangerfield has seen every aspect of the entertainment industry: the rough and tumble nightclubs, the backstage gag writing sessions, the drugs, the hookers, the lousy day jobs and the red carpet star treatment. As he traces his route from a poor childhood on Long Island to his enshrinement as a comedy legend, he takes readers on a roller coaster ride through a life that has been alternately touching, sordid, funny, raunchy, and uplifting equal parts "Little Orphan Annie" and "Caligula." And unlike most celebrity autobiographers, he seems to have no qualms about delivering the unfiltered whole story, warts and all. Dangerfield's personal story is also a rollicking show business tale, full of marquee name droppings (Adam Sandler, Sam Kinison, Jim Carrey, Johnny Carson, Jerry Seinfeld) and good stories about same. Defying the old saws about the fleeting nature of fame and the dearth of second acts in American life, Dangerfield transformed himself from a debt ridden aluminium siding salesman named Jack Roy to a multimedia superstar and stayed an icon for decades. His catchphrase "I get no respect" has entered the lexicon, and he remains a visible cultural presence and perennial talk show guest. Dangerfield's hilarious and inspiring musings should thrill comedy fans and pop culture watchers, and his second act comeback will strike a chord with readers of all stripes. Maybe he'll even get some respect.
President Me
￥88.56
My fellow Americans,President John F. Kennedy once famously said, "Hey, is that blond intern eighteen yet?" He also said, "Ask not what your country can do for you, but what you can do for your country."We've changed a lot since JFK asked us all to pitch in. We've become a nation of narcissistic, yoga-mat-toting, service-dog-having, absentee dads and gluten-free, hand-wringing, hypochondriac moms of overcaffeinated (yet somehow still lazy) twerking tweens. And our government is an inept bureaucracy incapable of doing anything except getting in our wallets and in our way. We've got to get it together, America.That is why I, Adam Carolla, hereby declare myself Candidate Carolla. The tome you hold in your hands is a statement of my intent to whip our country back into fighting shape, to eliminate the "what are you going to do for me?" mentality that has invaded our country.President Me is my manifesto, my vision for a better place . . . free of Big Government, barefoot fliers, lazy hipsters who'd rather "Occupy" than work, and the other things that are bringing our country down. With my cabinet appointees, my list of worthy and necessary presidential ManDates, and tons of great ideas for fixing our health care, education, energy, and even national parks systems . . . behold an America we can be proud of. The America I see in my head.You're welcome in advance.Your future leader,Adam
More Mirth of a Nation
￥95.52
More seriously funny writing from American's most trusted humor anthology Witty, wise, and just plain wonderful, the inaugural volume of this biennial, Mirth of a Nation, ensured a place for the best contemporary humor writing in the country. And with this second treasury, Michael J. Rosen has once again assembled a triumphant salute to one of America's greatest assets: its sense of humor. More than five dozen acclaimed authors showcase their hilariously inventive works, including Paul Rudnick, Henry Alford, Susan McCarthy, Media Person Lewis Grossberger, Ian Frazier, Richard Bausch, Amy Krouse Rosenthal, Nell Scovell, Andy Borowitz, and Ben Greenman -- just to mention a handful so that the other contributors can justify their feelings that the world slights them. But there's more! More Mirth of a Nation includes scads of Unnatural Histories from Randy Cohen, Will Durst's "Top Top-100 Lists" (including the top 100 colors, foods, and body parts), and three unabridged (albeit rather short) chapbooks: David Bader's "How to Meditate Faster" (Enlightenment for those who keep asking, "Are we done yet?") Matt Neuman's "49 Simple Things You Can Do to Save the Earth" (for instance, "Make your own honey" and "Share your shower.") Francis Heaney's "Holy Tango of Poetry" (which answers the question, "What if poets wrote poems whose titles were anagrams of their names, i.e., 'Toilets,' by T. S. Eliot?") And there's still more: "The Periodic Table of Rejected Elements," meaningless fables, Van Gogh's Etch A Sketch drawings, a Zagat's survey of existence, an international baby-naming encyclopedia, Aristotle's long-lost treatise "On Baseball," and an unhealthy selection of letters from Dr. Science's mailbag. And that's just for starters! Just remember, as one reviewer wrote of the first volume, "Don't drink milk while reading."
