A companion volume to 14th Century Colour Palettes -Volume 2, this book covers painting on the wall and onwood panel from Cennino Cennini, The Book of Art, of the late 1390s (extracts). The pigmentsand methods are drawn from the practice of Giotto, as Cennino writes.

From Italy to France to Flanders, the arts of painting in the 14th century were practised in manuscript illumination, on panel, and in fresco. Recipes for pigments appropriate to all these arts are included in this collection. "Experiments upon Colours" were dictated by painters to a Frenchman, Jehan Alcherius, while the Italian artist, Cennino Cennini, was especially attentive to the practice and the pigments to be used in fresco painting in The Book of Art / Il Libro dell' Arte, of c. 1390. His descriptions reveal the craft of Giotto, whose works make up the plates in this collection.

Hartford Seen is the first modern-day art photography book to focus on Connecticut’s capital. Comprising more than 150 full-color images, it has been in the making since Pablo Delano began teaching photography at Trinity College in 1996. In this personal meditation on the city’s built environment, he implements a methodical but intuitive approach, using color and meticulous compositions to evoke the city’s essence, particularly the way global population flows impact the city’s physical structures. Hartford Seen is meant to be taken as a whole, as a visual document that can shed light on the unique characteristics of one city’s past, present, and potential futures.

Moving Bodies, Navigating Conflict is a groundbreaking ethnographic examination of dance practice in Colombo, Sri Lanka, during the civil war (1983–2009). It is the first book of scholarship on bharata natyam (a classical dance originating in India) in Sri Lanka, and the first on the role of dance in the country’s war. Focusing on women dancers, Ahalya Satkunaratnam shows how they navigated conditions of conflict and a neoliberal, global economy, resisted nationalism and militarism, and advocated for peace. Her interdisciplinary methodology combines historical analysis, methods of dance studies, and dance ethnography.

Sublime is the word that better summarises Led Zeppelin’s philosophy and aesthetics. By highlighting the distinctive features of the band members and their management, analysing the symbolism behind the albums’ paratextual elements and exploring the epic of the band tours, the book identifies the main features of Led Zeppelin’s philosophy, or at least those that are intentionally disclosed by the entity {Page + Plant + Jones + Bonham}.

To take you down to the sea in ships, to go tramping over a thousand hills, to huddle against a man-made cyclone in the jungle scrub of the Lamington Plateau, to go film-making with Charles and Elsa Chauvel - that’s the object of this book. In these pages you will share Elsa’s dramatic years beside her film-producer husband, helping to pioneer a struggling motion picture industry. You will sail with them to lonely Pitcairn Island, where they face hazardous seas to bring back, for the first time, film footage of the hiding place of the Bounty mutineers. You will travel with the dedicated, adventure-loving pair to film in the rugged interior of the Northern Territory. You will listen to the thunder of hooves as they film the unforgettable, world-acclaimed charge of Forty Thousand Horsemen, and you will read of the stars discovered and created by Charles Chauvel: Errol Flynn, Mary Maguire, Chips Rafferty, Peter Finch, Michael Pate, Betty Bryant, Tudawali and Ngarla Kunoth of 'Jedda' fame.

The art world has become a point of contention within a range of debates and yet, strangely enough, while art criticism has been discussed at length, very little is said about art critics. Following in the footsteps of Lionello Venturi’s History of Art Criticism, in the current volume Lorente provides an updated reassessment of the great art critics from the Enlightenment down to the turn of the millennium. Conceived as a didactic handbook with a recommended bibliography at the end of each chapter, this concise work tells the history of a profession in permanent crisis, while also paying homage to its most influential practitioners in different cultural contexts.

Ethnomusicologist Eric Charry’s innovative and road-tested textbook is an introduction to Rock and R&B suitable for general education courses in music and also accessible for general readers interested in a novel approach to gaining a historically rich, yet concise understanding of these genres. The book is organized around a series of timelines, tables, and figures created by the author, and provides fresh perspectives that bring readers into the heart of the social and cultural import of the music. Charry lays out key theoretical issues, covers the technical foundations of the music industry, and provides a capsule history of who did what when, with particular emphasis on the rapid emergence of distinct genres in the music industry. The book’s figures distill the history and provide new insight into understanding trends. Over 1000 artists, albums, and songs are included here, such as Muddy Water, Elvis Presley, Bob Dylan, Aretha Franklin, The Velvet Underground, Janis Joplin, Jimi Hendrix, Stevie Wonder, Prince, Madonna, Talking Heads, and Public Enemy.

The present volume shows the archaeological thinking as a form of art, revealing the poetics of the archaeological imagination. It shows that, in their work, archaeologists, without being inspired by contemporary artists, use creative methods, and their analysis of the art of the Past goes beyond the material culture of the art objects, into the realm of the mental processes of creation. Consequently, the purpose of this book is to present the archaeological research functioning as a sort of artistic creation, proposing new perspectives on the archaeological imagination. It offers an exploration of the creative processes, the possibility of finding inspiration in experientiality, and the approach to the act of creation as a subject for archaeological research. When analysing the art of the Past, or when using art methods to approach the Past, we are facing an act of creation where imagination, emotion, and creativity combine under the form of an experiential instrument of investigation. The book offers a vision of archaeological research, a means to understand the complexity of the human nature, and consequently, to approach the human thinking structured on similarity and symbolism, being able to detect cultural and psychological subjects ignored until today, and, at the same time, to offer a series of visions of art, seen from the perspective of archaeology.

The Northern Forest of North America—stretching from New England and eastern Canada into the Upper Midwest—is one of the world’s largest contiguous forests. Complex and beautiful, it supports a wide variety of life, and the woodlands offer an interconnected vastness that gives American and Canadian lives perspective and balance. This book is timely, for the Northern Forest is at the heart of important environmental and economic issues that have become critical, especially as big logging companies sell large portions of their land. The very existence of this forest is extraordinary. For instance, in 1870 the forest covered just thirty percent of Vermont, but today eighty percent is woodland. This remarkable turnaround has taken place on what is overwhelmingly private land. Environmentalist Bill McKibben, in his introduction, says, “This unintentional and mostly unnoticed renewal of the rural and mountainous east represents the great environmental story of the United States and, in some ways, the whole world.” But forest acreage has begun to decrease in every state in New England, as trees are removed for commercial development. Renowned photographer John Huddleston brings a contemporary vision to show the unique and transitory character of this amazing forest. His photographs were made with precise attention to ordinary beauty and circumstance as he sauntered in the woods with camera in hand. Through his photographs we gain a deep appreciation and understanding of the Northern Forest and see how proper forest management enhances both commercial and ecological interests. Under Huddleston’s care, natural change is embodied in a new type of photographic composite created from exposures made of similar scenes in different seasons. This difficult, labor-intensive process elicits direct comprehension of cyclic time. Coupled with his straight photographs, the book reveals the dynamic forms and processes of the Northern Forest. And an array of text references explore the biology, economics, history, philosophy, and vulnerability of this vast regional landscape.

Founded as a sovereign Commonwealth in 1901, a dominion in the British Empire, Australia set out immediately to present itself to the world as a nation with a great future. This book relates the untold story of how Australia’s first diplomatic mission was conceived, designed and built. Its international showcase was to be Australia House, a splendid purpose-built building at the Aldwych in the very heart of London, the Imperial capital, and of world trade and prosperity. Commenced in 1913, Australia House was opened in 1918 while the Great War still raged. It is a story of ambitions and achievements – global, imperial, local and personal. ‘This meticulous and engaging study, remarkable for the depth and breadth of its scholarship, shows that the new Federation’s projection of its growing national pride and self-assurance via an imposing stone building was also part of the quest to make of London a city that fully expressed the ambition, achievement and grandeur of empire.’ Frank Bongiorno FRHistS FASSA, Professor of History, Australian National University ‘The story of the building [of Australia House] and the wider context of the Holburn to Strand improvements at Aldwych of which it formed part is here brilliantly told.’ David M. Walker, Dictionary of Scottish Architects

The image is an ontological paradox; it is made of dead matter, yet appears to be alive. For centuries, artists have created images of the living world – images that are static and yet possess the power to bring to life a frozen moment in time. While this tension has constituted a fundamental challenge for as long as theories on the nature of images have existed, recent scholarship has rekindled interest in the question of what images ‘do to us’. Despite the rational discourse of Modernity, we must acknowledge that we view images as half-living entities. Dead or Alive! addresses the perpetual relevance of images’ enigmatic life-likeness. Each of the twelve chapters, written by scholars of art history and visual culture, conveys how the materiality of images generates this powerful effect of animation. Covering a wide range of practices, from early paleolithic stone engravings, medieval tomb sculpture, renaissance death masks and baroque painting to modern fashion, park design, early cinema, robots and bio art, the book demonstrates that the ontological paradox of the image is not limited to a specific historical period or certain types of images, but can be seen throughout the history of images across different cultures.

Suspended between transparency and naturalness on the one hand, and opacity and artificiality on the other, colour is integral to the cinematic apparatus in an ideological as well as technological sense. This special issue of Cinéma&Cie aims to address colour in the middle decades of the twentieth century - from the 1930s to the 1960s - examining it as an analogue and material quality of still and moving images and, more broadly, of the intermedial cultures in which cinema was embedded. During the mid-century, colour gradually became the norm, and film and media from the era track this transition formally as well as culturally, showing a constant tension within colour between the display of its technical wizardry and its concealment, and between attempts to control it and its own autonomous resistance to regulation.

Accompanying an exhibition at BASTIAN, London, this striking publication presents works by the German-born American artist Hans Hofmann (1880–1966), produced at the end of the Second World War and immediately afterwards. Hofmann’s angular abstractions (such as Fury No. 1) personify the insecurities of the period, but this was also the moment that he moved towards the soft ambiguous forms and gesture that would become the hallmark of the Abstract Expressionist movement. Renowned as both an artist and teacher, Hofmann established his first art school in Munich in 1915. Built on the contemporary ideas regarding colour and form of Cézanne, the Cubists and Kandinsky, his work laid the foundations for his reputation as a forward-thinking artist. After relocating to the United States in 1932, he then opened schools in both New York and Provincetown, immersing himself within America’s growing avantgarde art scene. His teaching had a significant influence on post-War American artists, including Helen Frankenthaler, Lee Krasner and Joan Mitchell – artists who would later lead the Abstract Expressionism movement. The works presented here span from 1942 to 1946. Whilst demonstrating Hofmann’s development towards abstraction, the paintings still reveal an identifiably representational quality which nod to his figurative beginnings; linear paintings such as The Virgin (1946) particularly emphasise this artistic trajectory. Primarily known for his expressive use of bold, often primary colours, the palette used in these paintings consists predominantly of vivid, bright colours and contrasting dark tones, epitomizing the conflicted post-War feeling. Hofmann’s work during the 1940s also saw him garner the support of several key figures in the artistic scene, including the renowned gallerists and dealers Peggy Guggenheim, Betty Parsons, and Samuel M. Kootz. A particularly important moment in his career – aged 64 at the time – was his first solo exhibition in New York in 1944 at Peggy Guggenheim’s gallery Art of This Century, considered ‘a breakthrough in painterly versus geometric abstraction that heralded abstract expressionism’ by the influential art critic Clement Greenberg.

After the 2016 presidential election, popular media branded Appalachia as "Trump Country," decrying its inhabitants as ignorant fearmongers voting against their own interests. And since the 1880s, there have been many, including travel writers and absentee landowners, who have framed mountain people as uneducated and hostile. These stereotypes ultimately ward off potential investments in the region's educational system and skew how students understand themselves and the place they call home. Attacking these misrepresentations head on, Literacy in the Mountains: Community, Newspapers, and Writing in Appalachia reclaims the long history of literacy in the Appalachian region. Focusing on five Kentucky newspapers printed between 1885 and 1920, Samantha NeCamp explores the complex ways readers in the mountains negotiated their local and national circumstances through editorials, advertisements, and correspondence. In local newspapers, community action groups announced meeting times and philanthropists raised funds for a network of hitherto unknown private schools. Preserved in print, these stories and others reveal an engaged citizenry specifically concerned with education. Combining literacy and journalism studies, NeCamp demonstrates that Appalachians are not -- and never have been -- an illiterate, isolated people.

The Crocker Art Museum has one of the finest and earliest German drawings collections in the United States. Featuring artists such as Johann Wolfgang Baumgartner, Anton Raphael Mengs and Johann Heinrich Wilhelm Tischbein, The Splendor of Germany examines the major developments in German draughtsmanship over the course of the eighteenth century. Published to coincide with the collection’s 150th anniversary. In the 21st century, the collecting and study of 18th-century German drawings has become a major focus for American museums. One of the finest collections of them, however, has been in California for 150 years. The superb drawings at the Crocker Art Museum, from a Baroque altarpiece design by Johann Georg Bergmüller to a Neoclassical mythology by Johann Heinrich Wilhelm Tischbein, provide a panorama of German draughtsmen and draughtsmanship throughout the century. Many of the drawings are remarkable for their modernity. A self-portrait by Johann Gottlieb Prestel bypasses convention to achieve a direct, unmediated likeness. Well-placed slashes with brush and black ink define the features below his peruke outlined in black chalk. Other drawings encapsulate specific developments and styles, such as Johann Wolfgang Baumgartner’s Lazarus and the Rich Man, which shows the florid dynamism of the Augsburg Rococo. A full range of eighteenth-century German artists are represented here, from the satirizing moralists Johann Elias Ridinger and Daniel Chodowiecki to the Classicist and friend of the art theorist Johann Joachim Winkelmann, Anton Raphael Mengs. Landscape artists are especially well represented, such as the key figure Johann Georg Wille, printmaker to the French king Louis XV, and generations of artists he taught and influenced all the way to the early Romantic landscapists. The exhibition and catalogue gather together a variety of dynamic and sensitive portraits, charming scenes of daily life, and often humorous moralizing subjects, as well as narratives, both religious and mythological, from the late Baroque to Neoclassicism. In the realm of landscape, the depth of the collection allows the exhibition to trace schools and influences—in addition to Wille’s mentioned above—even in families such as that of Prestel, whose wife and daughter were both landscapists. It also allows it to demonstrate the great variety of works by single artists such as Christoph Nathe, represented by four landscapes in four different genres including a splendid scene near Görlitz. Some artists, in fact, work in several genres as in the case of Johann Christian Klengel, whose works include the scene of a family by candlelight, a farmstead landscape, and a sketchbook that he carried through the countryside to record picturesque views.This is a rare opportunity for the public and for drawings enthusiasts. Two-thirds of the drawings in the exhibition have not been shown before; most of the exceptions have not been seen since 1989. Because of the drawings’ 150-year history of limited exposure, the state of preservation of the collection is exceptional, as is the condition of the new acquisitions included in the exhibition.