Academy Award--winning director Michael Curtiz (1886--1962) -- whose best-known films include Casablanca (1942), Yankee Doodle Dandy (1942), Mildred Pierce (1945) and White Christmas (1954) -- was in many ways the anti-auteur. During his unprecedented twenty-seven year tenure at Warner Bros., he directed swashbuckling adventures, westerns, musicals, war epics, romances, historical dramas, horror films, tearjerkers, melodramas, comedies, and film noir masterpieces. The director's staggering output of 180 films surpasses that of the legendary John Ford and exceeds the combined total of films directed by George Cukor, Victor Fleming, and Howard Hawks.In the first biography of this colorful, instinctual artist, Alan K. Rode illuminates the life and work of one of the film industry's most complex figures. He begins by exploring the director's early life and career in his native Hungary, revealing how Curtiz shaped the earliest days of silent cinema in Europe as he acted in, produced, and directed scores of films before immigrating to the United States in 1926. In Hollywood, Curtiz earned a reputation for his explosive tantrums, his difficulty communicating in English, and his disregard for the well-being of others. However, few directors elicited more memorable portrayals from their casts, and ten different actors delivered Oscar-nominated performances under his direction.In addition to his study of the director's remarkable legacy, Rode investigates Curtiz's dramatic personal life, discussing his enduring creative partnership with his wife, screenwriter Bess Meredyth, as well as his numerous affairs and children born of his extramarital relationships. This meticulously researched biography provides a nuanced understanding of one of the most talented filmmakers of Hollywood's golden age.

Published to accompany the exhibition at Piano Nobile that concentrates on the years after the Second World War when Bomberg became an influential teacher at the Borough Polytechnic, the fully illustrated catalogue Bomberg / Marr: Spirits in the Mass will be the first examination of the personal and creative bonds uniting these two pioneers of modern British painting. Both artists endeavoured to strip the external world to its bare essentials. Often using powerful organic tonalities, Bomberg and Marr worked toward a vigorous expression of their subjects through an architectural and analytic, yet fraught and unstable formal construction. Alongside other much-admired students at the Borough Polytechnic such as Frank Auerbach and Leon Kossoff, Marr sought out what Bomberg described as 'the spirit in the mass': a sense of immanence, of intangible significance held in the painter's communion with the shifting solidity of the physical world. Presenting a discerning selection of major works, Bomberg / Marr: Spirits in the Mass will place Marr, for the first time, in his rightful place as not just a pupil of Bomberg's but a peer. Through these rarely exhibited landscapes, self-portraits, and still lifes from private collections and Marr's personal collection, this cayalogue aims to achieve a fuller appreciation of both artists.

In this brilliant collection, path-breaking figures of American experimental music discuss the meaning of their work at the turn of the twenty-first century. Presented between 1989 and 2002 at Wesleyan University, these captivating lectures provide rare insights by composers whose work has shaped our understanding of what it means to be experimental: Maryanne Amacher, Robert Ashley, Philip Glass, Meredith Monk, Steve Reich, James Tenney, Christian Wolff, and La Monte Young. Collected here for the first time, together these lectures tell the story of twentieth-century American experimental music, covering such topics as repetition, phase, drone, duration, collaboration, and technological innovation. Containing introductory comments by Lucier and the original question and answer sessions between the students and the composers, this book makes the theory and practice of experimental music available and accessible to a new generation of students, artists, and scholars.

As the papers in this volume testify, digital scholarly editing is a vibrant practice. Scholarly editing has a long-standing tradition in the humanities. It is of crucial importance within disciplines such as literary studies, philology, history, philosophy, library and information science, and bibliography. In fact, digital scholarly editing represents one of the longest traditions in the field of Digital Humanities — and the theories, concepts, and practices that were designed for editing in a digital environment have in turn deeply influenced the development of Digital Humanities as a discipline. By bringing together the extended abstracts from three conferences organised within the DiXiT project (2013-2017), this volume shows how digital scholarly editing is still developing and constantly redefining itself. DiXiT (Digital Scholarly Editing Initial Training) is one of the most innovative training networks for a new generation of scholars in the field of digital scholarly editing, established by ten European leading institutions from academia, in close collaboration with the private sector and cultural heritage institutions, and funded under the EU’s Marie Skłodowska-Curie Actions. The partners together represent a wide variety of technologies and approaches to European digital scholarly editing. The extended abstracts of the convention contributions assembled in this volume showcase the multiplicity of subjects dealt with in and around the topics of digital editing: from issues of sustainability to changes in publications cultures, from the integrity of research and intellectual rights to mixed methods applied to digital editing—to name only a few.

In the middle of the nineteenth century a new family of hereditary musicians emerged in the royal court of Lucknow and subsequently rose to the heights of renown throughout North India. Today this musical lineage, or ghar n , lives on in the music and memories of only a small handful of descendants and players of the family instrument, the sarod. Drawing on six years of ethnographic and archival research, and fifteen years of musical apprenticeship, Max Katz explores the oral history and written record of the Lucknow ghar n , tracing its displacement, loss of prestige, and erasure from the collective memory. In doing so he illuminates a hidden history of ideological and social struggle in North Indian music culture, intervenes in ongoing debates over the anti-Muslim agenda of Hindustani music’s reform movement, and reanimates a lost vision in which Muslim scholar-artists defined the music of the nation. An interdisciplinary, postmodern counter-history, Lineage of Loss offers a new and unsettling narrative of Hindustani music’s encounter with modernity.

Art can be fun and so should be speaking about it. This alphabetically-organised book is an excellent introduction to the arts for kids.Designed in an engaging, colourful style, the selection nurtures children's interest in artistic creation at large. It not only delivers basic knowledge but also acts like a good jumping-off point for exploring art. To match the shorter attention span of many children, the book has a dynamic structure. The definitions are short but comprehensive and each word or concept is attractively illustrated.

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. 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. This publication of the Nobile Index Series, written by Sophie Hatchwell, academic at Bristol University, focuses on the sales history of Francis Bacon and Lucian Freud, two titans of modern art. Both controversial, revered, and celebrated in their lifetime, this publication will explore how their work has fared at auctions since 1990. Comparing the fortunes of both, Sophie Hatchwell examines how genres, media, significant sales and exhibitions, and their deaths have impacted upon the value of their work individually. The publication comes in two sections - an introduction, results and analysis, and a booklet insert of appendices. This edition on Bacon and Freud marks the fifth and final publication of the Nobile Index series. To celebrate its release, a commemorative edition comprising all five publications, on Sickert, Bomberg, Lowry, Spencer, and Bacon and Freud will be produced.

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. 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.This publication of the Nobile Index Series, written by Sophie Hatchwell, academic at Bristol University, focuses on the sales history of Sir Stanley Spencer from 1990-2015. Stanley Spencer, arguably one of the greatest British artists of the twentieth-century, is also renowned for his chequered sales history and money struggles. This rigorous study into the prices his work now commands at auctions demonstrates the significance of major sales over the past twenty-five years and the increasing value the market place supon Spencer's paintings. Evaluating general market trends, genres and media amongst other factors, Sophie Hatchwell's investigation provides an invaluable source of information on Stanley Spencer as an artist and the legacy and future of his work within the art market. The publication comes in two sections - an introduction by renowned Spencer specialist Professor Paul Gough, results and analysis, and a booklet insert of appendices.

Chevening stands in a magnifi cent park below the wooded escarpment of the North Downs in Kent. It has a history dating back around 800 years, but the house we see today is almost entirely the creation of seven generations of the Stanhope family, building on the original Inigo Jones house of 1630. For 250 years the Stanhopes served their country as soldiers and statesmen, and at Chevening as patrons of architecture and art. This new guide highlights the contributions of the Earls and Countesses Stanhope to the building, furniture, pictures, gardens and landscape of Chevening. It also gives a short account of the family in the wider world in order to set theircreations in context. The decoration and architectural features of each of the rooms – from the Entrance Hall with its spectacular swirling staircase of c. 1721 to the sumptuous Tapestry Room with its rare Berlin tapestries woven by Huguenot craftsmen in 1708 – are described and illustrated, and signifi cant and unusual works of art highlighted, such as important portraits by Allan Ramsay, Thomas Gainsborough, and Sir Thomas Lawrence. The Estate consists of some 3,000 acres, and the gardens include a lake, maze, parterre and a double hexagonal walled kitchen garden. The history of the garden is explored, from the extensive landscaping in the formal style by the 1st and 2nd Earls in the early 18th century, to the naturalistic style created in 1775–78 – much of the character of which survives today – to the re-formalizing in the 19th century, with the creation of the ‘Italian’ gardens, a maze and hedged allées. The wonderful restoration of recent decades and the replanting to the designs of Elizabeth Banks is celebrated with new photography. Published to coincide with the 50th anniversary of the Chevening Act coming into eff ect with the death of the last Earl Stanhop and the 300th anniversary of his family’s acquisition of Chevening Estate.

Portable studio documents contemporary British youth culture, and was created in collaboration with the young people Appleson met and photographed on the streets of Birmingham in 2014. Inspired by the way identities are now curated online, the project works with a wide range of individuals to create an 'archive' of found and commissioned material, exploring identity and experience as expansive, multimedia portraits. Portable Studio inverts the traditional idea of the studio portrait/street photograph - the 'snapshot' is now just the starting point. In 2014 Trevor Appleson was commissioned by MAC Birmingham and the Library of Birmingham to create a new body of work exploring the city’s youth culture. Equipped with a film camera and a plain black cloth to use as a backdrop for his photographs, Appleson went out into the streets of Birmingham to its music venues and its shopping districts, in daytime and at night and photographed its youth, from ravers to girl guides, most in their teens and early twenties. Portable Studio will feature approximately 200 portraits alongside a fascinating archive donated by the sitters; a unique mix of physical and digital material ranging from crumpled diaries to selfies posted on social media, the contents of ‘memory boxes’, to vintage family photographs and Google search histories. The book is divided into three sections:Portraits: grouped by location and ‘tribe’, ravers, punks, rockers, school kids etc.Archives: 70 personal archives from selected subjects invited to collaborate further.Index: an annotated index completes the project with notes and descriptions. Supported by Arts Council England, Portable Studio is a critical document of contemporary British youth culture, made in collaboration with a selection of the 700 young people Appleson photographed for his commission.

The depth of history at Queen Anne’s Gate – a handsome Baroque street overlooking St James’s Park – is unusual even in London, and few houses resonate with more memories than the extraordinary number 14. The story of the house over the centuries features political revolutionaries, occult initiations, clandestine war meetings, and a decapitated head. It begins, however, as a museum of Roman sculpture, unrivalled outside Italy, designed for connoisseur and virtuoso Charles Townley (1737–1805). Townley embodied Enlightenment values perhaps more completely than any other figure in the art world of 18th-century Britain – his portrait by Johann Zoff any (seen above) is one of the iconic paintings of the period – yet remarkably he has never been the subject of a major publication. Written with a sparkle matching Townley’s own enthusiasm, this beautiful and engaging publication tells the story of 14 Queen Anne’s Gate and examines the extraordinary life of Charles Townley and his remarkable collection of over 150 Roman marble statues (mostly now in the British Museum but captured in spectacular engravings of the period). It will be a revelation. The house was designed as a temple to the past, reviving in the modern city the occult practices of the ancient world. Here visitors in eighteenth century would have found an assembly of Roman sculpture unrivalled outside Italy, as well as a library and collection devoted to understanding a universal ‘generative sprit’ worshipped by early civilizations. That spirit may be found in the succession of major roles the house has continued to take through generations of dramatic change up to the present day. Charles Townley, for whom the house was built, was a fi gure both marginal and emblematic. Catholic and bisexual, he forged a life literally on the borders of the Protestant British establishment. He remains little understood or appreciated in his homeland and, remarkably, has never been the subject of a major exhibition or publication. The ‘emblematic’ side of Townley’s life was dedicated to virtù, the term used for an appreciation of fi ne art pursued for its own sake. The ‘marginal’ side of Townley, by contrast, manifested itself in a fascination with the ancient occult, particularly the Bacchic mysteries. The house he made for himself was at once a temple to virtù and to Bacchus and contained an unprecedented programme of Bacchic iconography.

Journalists James Bawden and Ron Miller spent their careers interviewing the greatest stars of Hollywood's golden age. They visited Lee Marvin at home and politely admired his fishing trophies, chatted with Janet Leigh while a young Jamie Lee Curtis played, and even made Elizabeth Taylor laugh out loud.In You Ain't Heard Nothin' Yet, Bawden and Miller return with a new collection of rare interviews with iconic film stars including Henry Fonda, Esther Williams, Buster Keaton, Maureen O'Sullivan, Walter Pidgeon, and many more. The book is filled with humorous anecdotes and incredible behind-the-scenes stories. For instance, Bette Davis reflects that she and Katharine Hepburn were both considered for the role of Scarlett O'Hara but neither was "gorgeous enough" for the part; Janet Leigh analyzes the famous shower scene in Psycho (1960), which was shot in seven days and gave the actress nightmares for years; and Jimmy Stewart describes Alfred Hitchcock as a "strange, roly-poly man, interested only in blondes and murder." Popular horror film stars from Lon Chaney Jr. to Boris Karloff and Vincent Price are also featured in a special "movie monsters" section.With first-person accounts of Hollywood life from some of the most distinguished luminaries in the history of American cinema, this entertaining book will delight classic movie fans.

The works of art carefully selected for this catalogue, which accompanies an exhibition at the prestigious Sam Fogg gallery in London, follow the impact of the introduction of paper into the Islamic world and its effect on both the quality and the scope of the calligraphicart form. Paper – rather than parchment – allowed for inscriptions to be penned on a massive scale, and one of the highlights here is a monumental half line from the so-called ‘Baysunghur’ Qur’an, which was probably the largest Qur’an manuscript commissioned byan imperial court. The transition to paper also witnessed the codifi cation of the ‘six pens’ or six recognized cursive scripts, which still hold. From this standardization of the script styles, lineages of recognized calligraphy masters were established. Calligraphers became hailed as artists and were highly valued at imperial courts. In the great age of the Ottoman Turks, the Safavid Persians and the Mughals in North India, there are numerous accounts of calligraphers moving between these Islamic empires by ever more lavish promises of patronage. The Pandnameh of Loqman, A book of advice of 1534–35 and made in Bukhara is one such example. The calligrapher Mahmud ibn Ishaq [al-Shahabi] was likely taken to Bukhara after the occupation of his native Herat in 1528–29, when ‘Ubaidullah Khan, the Uzbek ruler, took many of the city’s prized artists and calligraphers with him back to his capital. The position of prominence of calligraphy within the Islamic courts is highlighted by the development of the lavish arts of illumination, book binding and other aspects of the art of the book. The intricate designs which developed to decorate the margins and the interlinear space between the lines of text became a recognized art form in itself. Designs ranged from dazzling geometric compositions to scenes of nature populated by fabulous creatures. The combination of masterful calligraphy and radiant illumination produced princely works of art for the most discerning of imperial patrons. ‘The Ball and Mallet’ or halnama by Mahmud Ibn Muhammad ‘Arifi al-Haravi, for example, is a Sufi text produced at the court of Shah Tahmasp c. 1540 and its wonderful illuminated borders are attributable to Aqa Mirak, one of the great Safavid court painters.

Ishiro Honda was arguably the most internationally successful Japanese director of his generation, with an unmatched succession of science fiction films that were commercial hits worldwide. From the atomic allegory of Godzilla and the beguiling charms of Mothra to the tragic mystery of Matango and the disaster and spectacle of Rodan, The Mysterians, King Kong vs. Godzilla, and many others, Honda’s films reflected postwar Japan’s real-life anxieties and incorporated fantastical special effects, a formula that appealed to audiences around the globe and created a popular culture phenomenon that spans generations. Now, in the first full account of this long overlooked director’s life and career, authors Steve Ryfle and Ed Godziszewski shed new light on Honda’s work and the experiences that shaped it—including his days as a reluctant Japanese soldier, witnessing the aftermath of Hiroshima, and his lifelong friendship with Akira Kurosawa. Ishiro Honda: A Life in Film, from Godzilla to Kurosawa features close analysis of Honda’s films (including, for the first time, his rarely seen dramas, comedies, and war films) and draws on previously untapped documents and interviews to explore how creative, economic, and industrial factors impacted his career. The authors cover Honda’s non-science fiction films for the first time in any language. Fans of Honda, Godzilla, and tokusatsu (special effects) film, and of Japanese film in general, will welcome this in-depth study of a highly influential director who occupies a uniquely important position in science fiction and fantasy cinema, as well as in world cinema.Together, the authors have provided audio commentary tracks and produced supplemental material for numerous home video releases, including Ishiro Honda’s Godzilla for the British Film Institute. They co-produced the documentary feature Bringing Godzilla Down to Size (2008).

Nearly four decades after his death, Charles Mingus Jr. remains one of the least understood and most recognized jazz composers and musicians of our time. Mingus’s ideas about music, racial identity, and masculinity—as well as those of other individuals in his circle, like Celia Mingus, Hazel Scott, and Joni Mitchell—challenged jazz itself as a model of freedom, inclusion, creativity, and emotional expressivity. Drawing on archival records, published memoirs, and previously conducted interviews, The Kind of Man I Am uses Mingus as a lens through which to craft a gendered cultural history of postwar jazz culture. This book challenges the persisting narrative of Mingus as jazz’s “Angry Man” by examining the ways the language of emotion has been used in jazz as shorthand for competing ideas about masculinity, authenticity, performance, and authority.

The Leiden-born artist Jan Steen (1626–1679) is widely admired as one of the most engaging and technically brilliant painters of the Dutch Golden Age. This volume accompanies an exhibition that will be the first in the UK devoted to Steen’s Old Testament subjects. The focal point will be his magnificent Wrath of Ahasuerus (c. 1668–69), one of the highlights of the Barber’s collection, whichwill be joined by a number of other paintings by Steen from private and public collections across the world. Three essays will examine the core themes of the show – the role of Jewish history in Steen’s Old Testament scenes; the infl uence of Dutch theatre on his work; and the critical response to his Old Testament paintings from the 17th century to date. Robert Wenley (Barber Institute of Fine Arts) will look at how the Dutch nation established its identity in part by associating its people with the Biblical Israelites, seeing themselves as persecuted by the Spanish for their faith. He will explore the popularity of the story of Esther and other Old Testament subjects in Dutch culture – in plays as well as paintings – and the possibility of Jewish patrons for Steen’s Old Testament paintings. Nina Cahill (University of Kassel) will put forward new research about how Steen adopted the gestural language of contemporary Dutch theatre, amateur and professional, in order to represent the key fi gures in these scenes and to convey the pivotal dramatic moments. In some instances, Steen may have been quoting from an actual production of a play based on the Biblical story. Rosalie van Gulick (Utrecht University) will consider how Steen’s Old Testament scenes have been received and understood over the years. She will investigate how the apparent farcical character of these scenes has been understood over the centuries and why they have prompted adversely critical responses from some modern art historians.