This publication brings together 27 objects that were made in Europe during the Middle Ages, between the 11th and the early 16thcenturies. They represent some of the finest examples of sculpture, metalwork, painting, drawing, and stained glass still in private hands,and together offer a startling insight into the period’s rich artistic achievements.

In 1621, Peter Paul Rubens (1577–1640) wrote a letter to William Trumbull, the English diplomat and political agent to King James I, in which he described a large painting of a lion hunt that he had just completed: “As you rightly observe, such things have more grace and power in a large picture than in a small one … because the large size of a picture gives one much more courage to express one’s ideas clearly and realistically”. Rubens here casually disclosed what lay at the heart of his artistic intentions – his constant quest to achieve in his compositions the equilibrium between power and grace. The same can be said of Anthony van Dyck (1599–1641) and Jacob Jordaens (1593–1678), whose lives and careers were markedly intertwined with and infl uenced by the senior artist. Just how diff erently they went about achieving this eff ect can best be seen in their drawings, for it is there that we see the artists thinking, evolving, and creating. The Morgan is particularly well suited to tell this story, for its holdings of Rubens, Van Dyck, and Jordaens drawings are unparalleled in the United States. The nucleus stems from Pierpont Morgan’s important 1909 acquisition of the collection of European drawings from the English Pre-Raphaelite painter and collector Charles Fairfax Murray. During the decades following Pierpont Morgan’s death in 1913, thecollection of Flemish drawings was enriched with several notable acquisitions. The exhibited selection includes designs for paintings, tapestries, and sculpture, copies after Italian and German masters, portrait drawings, landscapes, and studies of the male nude.

Reducing Boundaries offers a new perspective on an often under researched topic: what is the upper and middle classes perception of their own security? While human sciences have mainly focused on poor and low-middle classes evicted from urban space, Reducing Boundaries explores the strategies that the most privileged classes enact in order to preserved their own (real or perceived) security. In the context of an interdisciplinary framework of analysis and through a series of case studies (from Porto Alegre, to Brussels, to Venice), class-specific security measures and policies are considered both in themselves, and in terms of their impact of the urban fabric of cities and on the lives of the different social groups involved. This book crowns a four-year international project funded by the European Research Agency.

Three texts by two Italian Renaissance painters – Leonardo da Vinci and Gian Paolo Lomazzo – and a compendium of the 53 standard pigments commonly found on artists' palettes for painting in oil on panel and on canvas as outlined by the writer, Raffaello Borghini, make up this 16th century collection of pigments. Leonardo's studio advice on the use of colours for capturing light and dark picks up this theme from Italian 15th century and classical painting and lays the foundation for this practice as it would develop in European painting. The plates are of works by Titian found in the National Gallery in London, whose pigments have been identified and matched to the paintings.

The sources of pigments used in European painting are found in classical antiquity, 1st. century B.C. to 1st century A.D. The over 40 pigments in use were described by Vitruvius, Pliny the Elder and Dioscorides, complemented by 3rd

This catalogue accompanies an exhibition at The Courtauld Gallery, which is the first dedicated to the graphic oeuvre of Antoine Caron (1521–1599). Bringing together a core group of drawings centred around the figures and deeds of the French Royal family, the Valois, this display highlights the role played by Catherine de’ Medici (1519–1589). Featuring the Valois series, a set of drawings herereunited for the first time, the display showcases the way in which the powerful and influential Catherine promoted the success of her regency and future of her progeny by delivering a series of lavish courtly events that were meant to enhancethe power and diplomacy of her family. The drawings represent jousts, tournaments, festivals and a mock naval battle, events that occurred at the French court during the reigns of Catherine’s sons Charles IX and Henri III. Preparatory designs for a group of tapestries, these visual documents relate to actual events that were organised by the court, some of which took place at the French castles of Anet, Palace of Fontainebleau, Bayonne and at the Tuileries Gardens in Paris. Minutely designed, they thus allow a reconstruction of the visual testimony of those events, as they were documented in written contemporary sources.

Disillusioned with London life and struggling to make a living, Blake and his wife Catherine went in 1800 to live at the coastal village of Felpham, which the artist soon described as “the sweetest spot on earth”. Providing his principal encounters with both English rural life and the coast, the artist’s three years “on the banks of the ocean” informed his two greatest illustrated epic poems, Milton and Jerusalem, and continued to be refl ected in his work for the rest of his career: “In Felpham”, claimed Blake, “I saw and heard Visions of Albion”.In addition to the work associated with Felpham, this publication considers the collections of nearby Petworth House, which include three major paintings by Blake – otherwise unrepresented in other grand houses of Britain – along with related prints, books and archival material. The authors will examine the relationships formed by Blake in Sussex, particularly with the poet William Hayley, the sculptor John Flaxman, the 3rd Earl of Egremont (one of the great collectors of contemporary art in the early 19th century) and his estranged wifeElizabeth Ilive, who commissioned two of the three paintings now in Petworth. Blake’s work for Hayley, often dismissed as illustrative and decorative, will be reappraised, and other projects he worked on in Sussex – including remarkable biblical watercolours produced for his great London patron, Thomas Butts – will be celebrated. Blake’s infamous arrest and trial for sedition – chief among the events profoundly aff ecting him in Sussex – will be discussed. It is not widely known that Blake was tried fi rst in Petworth, where he was vouched for by the 3rd Earl.

Miriam Hopkins (1902--1972) first captured moviegoers' attention in daring precode films such as Dr. Jekyll and Mr. Hyde (1931), The Story of Temple Drake (1933), and Ernst Lubitsch's Trouble in Paradise (1932). Though she enjoyed popular and critical acclaim in her long career -- receiving an Academy Award nomination for Becky Sharp (1935) and a Golden Globe nomination for The Heiress (1949) -- she is most often remembered for being one of the most difficult actresses of Hollywood's golden age. Whether she was fighting with studio moguls over her roles or feuding with her avowed archrival, Bette Davis, her reputation for temperamental behavior is legendary.In the first comprehensive biography of this colorful performer, Allan R. Ellenberger illuminates Hopkins's fascinating life and legacy. Her freewheeling film career was exceptional in studio-era Hollywood, and she managed to establish herself as a top star at Paramount, RKO, Goldwyn, and Warner Bros. Over the course of five decades, Hopkins appeared in thirty-six films, forty stage plays, and countless radio programs. Later, she emerged as a pioneer of TV drama. Ellenberger also explores Hopkins's private life, including her relationships with such intellectuals as Theodore Dreiser, Dorothy Parker, Gertrude Stein, and Tennessee Williams. Although she was never blacklisted for her suspected Communist leanings, her association with these freethinkers and her involvement with certain political organizations led the FBI to keep a file on her for nearly forty years. This skillful biography treats readers to the intriguing stories and controversies surrounding Hopkins and her career, but also looks beyond her Hollywood persona to explore the star as an uncompromising artist. The result is an entertaining portrait of a brilliant yet underappreciated performer.

Jewellery is often viewed as a feminine preoccupation, but in Tudor and Jacobean England men wore just as much (if not more) jewellery as their female counterparts. Jewels themselves were valued not merely for their intrinsic monetary worth, but also for their ability to reflect status and lineage, as well as sustain social bonds and networks of reciprocity. Bejewelled offers an in-depth discussion of the contexts in which jewellery in Tudor and Jacobean England was circulated from a male perspective, considering the jewels as valid items of material culture worthy of study and attention, rather than as mere trifles of adornment. Amongst other subjects, the book analyses the social and historical contexts in which jewellery was acquired, owned and circulated, interrogating the meanings that these jewels had for their male owners. The publication will highlight artefacts from the British Museum’s collection, such as the magnificent Lyte Jewel from the Waddesdon Bequest and the sealing devices of Sir Thomas Smith and Sir Walter Ralegh, as well as lesser-known objects such as the rings of the serjeants-at-law and a group of bronze plaquettes. By including material that has been discovered in archaeological contexts, along with evidence from inventories and wills as well as portraits showing these jewels being worn, this publication seeks to reposition jewellery, presenting it not merely as a concern of the elite but as something that was owned, worn and valued by a range of men across English society.

Barbara La Marr's (1896--1926) publicist once confessed: "There was no reason to lie about Barbara La Marr. Everything she said, everything she did was colored with news-value." When La Marr was sixteen, her older half-sister and a male companion reportedly kidnapped her, causing a sensation in the media. One year later, her behavior in Los Angeles nightclubs caused law enforcement to declare her "too beautiful" to be on her own in the city, and she was ordered to leave. When La Marr returned to Hollywood years later, her loveliness and raw talent caught the attention of producers and catapulted her to movie stardom.In the first full-length biography of the woman known as the "girl who was too beautiful," Sherri Snyder presents a complete portrait of one of the silent era's most infamous screen sirens. In five short years, La Marr appeared in twenty-six films, including The Prisoner of Zenda (1922), Trifling Women (1922), The Eternal City (1923), The Shooting of Dan McGrew (1924), and Thy Name Is Woman (1924). Yet by 1925 -- finding herself beset by numerous scandals, several failed marriages, a hidden pregnancy, and personal prejudice based on her onscreen persona -- she fell out of public favor. When she was diagnosed with a fatal lung condition, she continued to work, undeterred, until she collapsed on set. She died at the age of twenty-nine.Few stars have burned as brightly and as briefly as Barbara La Marr, and her extraordinary life story is one of tempestuous passions as well as perseverance in the face of adversity. Drawing on never-before-released diary entries, correspondence, and creative works, Snyder's biography offers a valuable perspective on her contributions to silent-era Hollywood and the cinematic arts.

Negative stories make the news. Drama and conflicts, victims and villains. They are our modern world. Or are they?This revised second edition on constructive news challenges the traditional concepts and thinking of the news media. It shows the consequences media negativity has on the audience, public discourse, the press and democracy as a whole.The book also explores ways to change old news habits and provides hands-on guidelines on how to do so. Moreover, the book presents numerous examples from the author’s ten-year tenure as executive director of news at the Danish Broadcasting Corporation where he led a successful paradigm shift in news production. Constructive News is a wake-up call for a media world that struggles for a future, as well as an inspirational handbook on the next megatrend in journalism.

The anthology explores contemporary women’s cinema in relation to issues related to gender and globalization. The anthology gathers scholars from several parts of the world – from Italy, the USA, Turkey, Iran, Greece, New Zealand, Argentina, Germany and Canada. Such a global perspective is mirrored in the book’s content: the essays consider women’s production in the domain of cinema by looking at various films and filmmakers around the globe and by tackling the relation between national, transnational and global contexts in film production. What comes out is a multifaceted picture showing that women filmmakers, and especially non- Western filmmakers, are key social actors able to narrate the complexities of the current geopolitical condition and of its subjects. Table of Contents: Introduction Veronica Pravadelli PART I: WOMEN’S CINEMA AND NATIONAL/TRANSNATIONAL/GLOBAL SCENARIOS1. Traumatic Dystopian Futurist Scenarios: Documentary Film, Gender, an Witnessing in Jennifer Baichwal’s Manufactured LandscapesE. Ann Kaplan 2. Female Friendship, Globalization and Women’s Filmmakingin the MediterraneanVeronica Pravadelli 3. Gendered Borderlands: Screens as Contact Zones in Contemporary Women’s Cinema in IndiaNeepa Majumdar 4. Global Change as a Scenario in Recent Films by British Women DirectorsAntonia Lant 5. Crossingthe (Inner) Borders: Aesthetics and Identity Policies in Contemporary European CinemaIlaria A. De Pascalis PART II: WOMEN’S CINEMA AND NATIONAL CINEMAS6. Everyday Labyrinths: Bodies of Memory in the Films of Verónica ChenAdrián Pérez Melgosa 7. No Country for Women? The Place of Top of the Lake and Perfect Strangersin New Zealand CinemaHilary Radner 8. Women Filmmakers in Contemporary Greece ElizaAnna Delveroudi 9. Perceptions of Feminismin Iranian Women’s CinemaSomayeh Ghazizadeh PART III: THEORIES AND FORMS OF AUTHORSHIP10. Colonial Imaginaries: White Women and World Cinema AuthorshipPatricia White 11. The Sound of Place/The Place of Sound: Lucrecia Martel’s Acoustic ImaginaryKathleen M. Vernon 12. Out of Step with Autobiographical Temporality: The Politics of the Affective in Petra Costa’s ElenaLuz Horne 13. The Topographies of Ethnicity in Kym Ragusa’s Passing, fuori/outside, and The Skin Between UsSabrina Vellucci 14. Subversive Strategies in Lucrecia Martel’s CinemaUta Felten 15. Visual Encounters in Lost and Delirious and Blue Is the Warmest ColorMaria Anita Stefanelli PART IV: WOMEN’S CINEMA AND NEW FORMS OF PRODUCTION AND DISTRIBUTION16. Her Blog: Women’s Cinema in the Digital AgeRosanna Maule 17. Women Make Movies and the Politics of Contemporary Feminist Film DistributionKristen M. Fallica 18. NestingInstincts? Women Filmmakers and TV Directors in TurkeyMelis Behlil Biographies

The Art of Asger Jorn is the first major work about one of Denmark's most important painters, Asger Jorn (1914-1973). It is not a typical biography depicting the outline of his life. Rather, the book sheds light on Jorn's artistic production: Who he was inspired by, which artistic movements he was in contact with, and - not least - what his paintings depict. This is also the focus of The Art of Asger Jorn in which Lars Morell, a Danish historian of ideas, analyzes Jorn's paintings. The author concludes that Jorn's paintings do not depict anything specific. Indeed, it is as if Jorn seized them in the midst of transformation, where the subject is turning into a new subject. Morell finds that the paradoxes and transformations characteristic of the works were influenced by the ever-changing nature of Jorn's own life. Asger Jorn was born in Denmark, but spent the majority of his artistic life abroad with workshops in both Paris and the Italian city of Albissola, famous for its skilled ceramic artisans. While abroad he discovered his great connection to the Nordic culture, and through his work with ceramics, he gained the necessary experience to liberate the colours of his paintings. While first and foremost a painter, he refined this artform by interacting with a variety of other art forms. The Art of Asger Jorn is thus not just a book about a single artist's work, but also a book about the mindset of modern art.

Eva and Konrad Seitz have put together over many years an outstanding collection of some of the most famous and important of all 18th century Pahari paintings, including miniatures commissioned by the Rajput rulers of the Punjab Hill states (1650-1850). This profusely illustrated book with meticulous research by J.P. Losty (curator emeritus British Library), designed by Misha Anikst and publishedby Francesca Galloway, London, gives the reader the opportunity to see the collection in its entirety. Pahari paintings have been the focus of Eva and Konrad Seitz’s collection since the couple first went to India in the late 1960s for Konrad to take up his position as a young diplomat at the German embassy in Delhi. They were drawn to Rajput paintings (Indian miniatures from the Hindu schools of North India and Rajasthan) which were then available in Delhi and Mumbai, and later in New York, as several princely collections were being dispersed. Eva and Konrad were part of a small group of pioneer collectors who recognised the importance of Rajput painting at a time when Mughal and Persian painting was far more sought after in the West. The Seitz collection lures you into the enchanted domain of the Hindu gods, their epics and the never-ending trials and tribulations of divine and erotic love. What attracted and intrigued Seitz to Rajput paintings in particular was their ability to induce in the viewer a kind of poetic trance – which he saw as distinct from a more Western tradition of descriptive realism. A Mystical Realm of Love is not only an opportunity to explore Pahari painting through one couple’s lifelong passion and dedication to the subject, but represents a major addition to the scholarship through Losty’s pioneering research. He attempts a new approach in documenting their role as parts of illustrated manuscripts of religious and poetic texts, and also puts forward a revised view of the development and chronology of Pahari painting.

The Nobile Index is a series of monographic publications of art sales prices achieved at auction, for a selection of leading 20th-century British artists - Walter Sickert, David Bomberg, L.S. Lowry, Stanley Spencer and Francis Bacon & Lucien Freud. They involve the collaboration of a commercial art dealership, Piano Nobile Works of Art and the University of Bristol's History of Art Department; bringing together academic and commercial expertise on the artists for the benefit of those with an interest in their work. They are funded by the generosity of a private benefactor. The studies are confined to analyses of auction art sales results from 1990 to the time of the study. Although largely from UK sales, data supplied by international salerooms are also included. Graphs and interpretations of these figures are analysed and significant trends and buying patterns revealed. It is envisaged that this data will be of growing value to private and corporate clients, museums and fine art funds. Accurate commercial appraisal has always played an important role in the consideration of new acquisitions throughout the history of art. No more so than today is this seen with the fluctuating, but ever more significant rise in value commanded by the best of many 20th-century artists' work.

Polish journalist Pawel Pieniazek was among the first journalists to enter the war-torn region of eastern Ukraine and Greetings from Novorossiya is his vivid firsthand account of the conflict. He was the first reporter to reach the scene when Russian troops in Ukraine accidentally shot down a civilian airliner, killing all 298 people aboard. Unlike Western journalists, his fluency in both Ukrainian and Russian granted him access and the ability to move among all sides in the conflict. With powerful color photos, telling interviews from the local population, and brilliant reportage, Pieniazek’s account documents these dramatic events as they transpired.This unique firsthand view of history in the making brings to life the tragedy of Ukraine for a Western audience. Historian Timothy Snyder provides wider context in his superb introduction and explores the significance of this ongoing conflict at the border of East and West.