Picasso, however, was born a Spaniard and, so they say, began to draw before he could speak. As an infant he was instinctively attracted to the artist’s tools. In early childhood he could spend hours in happy concentration drawing spirals with a sense and meaning known only to himself; or, shunning children’s games, trace his first pictures in the sand. This early self-expression held out promise of a rare gift.

The study of Greek sculpture was unknown two hundred and fifty years ago. Winckelmann1 was the first to study it, and to publish a book on the subject in 1755. The excavations in Pompeii and Herculaneum, the removal of the Parthenon sculptures to London by Lord Elgin, and above all, the regeneration of Greece and the subsequent rich finds in her soil, added zest to the continually growing interest in this new study.

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。

毫无疑问，葛饰北斋是十九世纪中期以来负盛名的日本艺术家，他的作品在西方世界广为人知。葛饰北斋的作品是对于一种被孤立的文明的艺术表达和反应，极大影响了诸如梵高之类的欧洲印象派和后印象派画家；这也使得葛饰北斋成为了跻身欧洲艺术界个日本艺术家。葛饰北斋是位日本浮世绘的大师，他的作品丰富多样、意蕴重大，创作年限长达九十年，其气势恢宏和类型缤纷的特点在本书中展现得淋漓尽致。

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。

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。

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.

The eclectic art of which the Carracci family dreamed was realised by Rubens with the ease of genius. However, the problem was much more complicated for a man of the north, who wished to add to it a fusion of the Flemish and Latin spirits, of which the rather pedantic attempts of Romanism had illustrated the difficulties. He achieved it without losing anything of his overflowing personality, his questing imagination, and the enchanting discoveries of the greatest colourist known to painting. Rubens, the greatest master of Baroque painting’s exuberance, took from the Italian Renaissance what could be of use to him, and then built upon it a style of his own. It is distinguished by a wonderful mastery of the human form and an amazing wealth of splendidly lighted colour. He was a man of much intellectual poise and was accustomed to court life, travelling from court to court, with pomp, as a trusted envoy. Rubens was one of those rare mortals who do real honour to humanity. He was handsome,

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。

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。

“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.

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。

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。

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

Be amazing Who says you can'tIt's time to get off the couch and take your life to the next level. Step one: stand on the shoulders of geniusesWhat good are the world's greatest geniuses if you can't muddy their shoulder pads and use their accomplishments as a step stoolmental_floss has combed through every success story in history to deliver this ultimate how-to guide for climbing your way to greatness.Step two: bask in the glow of admiring fansWhether you want to glow in the dark, swallow a sword, quit smoking, find Atlantis, live forever, get out of jury duty, buy the Moon, sink a battleship, stop global warming, become a ninja, or simply be the center of the universe, Be Amazing covers all the essential life skills. Just absorb a few pages, then let the hero worship begin!You will need: A hunger for greatness Some duct tape This book You may want: Sidekicks and/or minions An impressive nickname An amazing outfit

对莫奈而言，艺术创作始终是一种痛苦的挣扎。较之同时代人，他更深沉地痴迷于表达情感，更强烈地渴望传达超越大自然的光线效果。用他自己的话来形容：“技巧来来去去……艺术始终如一——它是大自然的转译，需要与意志力同等的敏感性。我和太阳搏斗……（我）应该用金 子和宝石作画。”

对莫奈而言，艺术创作始终是一种痛苦的挣扎。较之同时代人，他更深沉地痴迷于表达情感，更强烈地渴望传达超越大自然的光线效果。用他自己的话来形容：“技巧来来去去……艺术始终如一——它是大自然的转译，需要与意志力同等的敏感性。我和太阳搏斗……（我）应该用金 子和宝石作画。”

桥连接两个世界，是两个分离而不同的地点之间的张力。桥梁自由自在，不属于两边任何地区，矗立与风景之上，蔑视着自然百态。桥的存在蕴含着人类的意志，要在人与人之间，地与地之间建立起必要的联系。 桥是进步和创新的象征，无名地展示着新技艺的优势与持久性，也越来越轻，越来越流动，不断地藐视国家*的科技。作为真正的美学创造，今天的桥梁已经不仅仅是精湛的工程的体现，同样也是惊人的艺术作品。这本书中那些宏伟的照片将带领读者重新发现这些当代的雕塑。