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“It is wonderful, an instant classic and certainly the most comprehensive and useful single volume on the subject ever written.” – Donald J. La Rocca, Curator, Arms and Armor, The Metropolitan Museum of Art Arms & Armour Of India, Nepal & Sri Lanka is a very visually-driven and broad-based introduction to the unique world of arms and armour of the Indian region, encompassing India, Pakistan, Nepal, and Sri Lanka, areas with strong martial traditions. It provides an overview of types of arms and armour, with extensive geographical and historical context with many illustrated maps, their decoration and methods of adornment, as well as the iconographic and religious symbology. A unique and valuable feature of the book is an illustrated glossary. It is specifically designed to suit the needs of anyone wanting to familiarise themselves with this topic and the region. It can serve as a reference for the novice collector, and as an image resource for experts. This would include anyone interested in arms and armour in general, antique dealers, museums, general art market, educators, and of course, collectors. There has been increased interest in both collecting and scholarship regarding Indic arms and armour. Nearly every major auction on Indian and Islamic material tends to include arms and armour. Contents: Introduction; Terra Indica; Warfare In The Early Centuries; History: The Essentials; Steel, Trade And Distant Influences; Arms; Armour; Tribal Arms And Armour; Nepal; Sri Lanka; Decoration; Symbolism; Extraordinary Exemplars; Illustrated Glossary; Resources; Tips On Collecting; Museums/Collections; Further Reading; Index.

Darwishi Ur-atum Msamaki Minkabh Ishaq Eboni, the son of an Egyptian pharaoh, is only nine years old when he dies. He is mummified and laid to rest in a tomb, with the powerful Golden Scarab of Mukatagara hanging around his neck. Thousands of years later, during a transport of three precious sarcophaguses, there is a terrible storm. Lightning strikes, the lorry plunges from a flyover and the sarcophaguses are hurled through the air. During all this, a little white shape escapes the wreckage unnoticed…

Angus Gust is ten and has a perfectly normal life. Then one night a little mummy appears in his room! Life changes completely. Angus and Dummie (short for his real name) become best friends. One dreadful day, Dummie’s scarab goes missing. Without the scarab Dummie falls terribly ill. Angus must now do everything he can to find the scarab, so Dummie doesn’t have to face death again. Can Dummie be saved in time?

In this second book in the Dummie the Mummy series, Dummie, Angus and Nick travel to Egypt. It’s Dummie’s great wish to return to his country to visit the grave of his father, Pharaoh Akhnetut. Unfortunately, Egypt has completely changed in four thousand years and Akhnetut’s grave seems untraceable. To make matters even worse, Nick falls ill and Angus and Dummie set off without him. Then something terrible happens – Dummie has to give everything he’s got to save his best friend. Yet he is also determined to find his father’s grave. Fortunately, he remembers more and more about his life long ago and this proves to be very handy!

Modern family healthcare is under a lot of pressure, from insecurity when it comes to diagnosis and prescription behaviour, to delivering quality assistance while balancing a large number of patients, There is need for reform – but before reform, there must be a vision. Not only for daily healthcare, but also for education – because in education lays the roots for social change. By means of real patient testimonies and examples of daily consultations, this book focuses on family medicine. It pays special attention to the practical side of social determinants, diagnostics and therapy, and surrounding factors. Family Medicine and Primary Care emphasises the importance of qualitative work by general practitioners, correct education, and informed policies. It is a practical guide for high-level family medicine, with input from international experts.

Beauty and drama come together in a true and compelling story set in the colourful, turbulent world of late-15th-century Florence. The talented son of a successful banker and the beautiful daughter of an influential patrician: their marriage seemed made in heaven, but they were both to meet untimely and tragic ends. This book tells the story of two forgotten protagonists of the Florentine Renaissance: Lorenzo Tornabuoni (1468-97) and his wife, Giovanna degli Albizzi (1468-88). Unpublished documents from family archives allow us to glimpse their daily lives, while poems and works of art offer insight into their notions of love, marriage, birth, death and hopes of eternal life. The contradictions of Italian Renaissance culture clearly emerge, such as the tendency to combine a highly principled intellectual life and aesthetic refinement with self-glorification and political ruthlessness. The author shows how life and art were completely interwoven in this period, and explains the significance of works of art by the likes of Botticelli and Ghirlandaio and their place in the lives of Lorenzo and Giovanna.

Published to accompany an exhibition at Palazzo Strozzi in Florence, this catalogue presents a broad selection of works by Picasso, the great master of modern art, in an effort to stimulate a reflection on his influence and interaction with such leading Spanish artists as Joan Miró, Salvador Dalí, Juan Gris, María Blanchard and Julio González: art reflecting on art and on the relationship between the real and the surreal, the artist’s heartfelt involvement in the tragedy of unfolding history, the emergence of the monster with a human face, and the metaphor of erotic desire as a primary source of inspiration for the artist’s creativity and world vision. Picasso and Spanish Modernity showcases works by Picasso and other artists, ranging from painting to sculpture, drawing, engraving from the collection of the Museo Nacional Centro de Arte Reina Sofía in Madrid. The works of art include such celebrated masterpieces as the Portrait of Dora Maar, Horse’s Head and The Painter and the Model by Picasso, Siurana, the Path by Miró, along with Picasso’s drawings, engravings and preparatory paintings for his huge masterpiece Guernica.. Included are the biographies of all the artists featured: Pablo Picasso; Aurelio Arteta; Rafael Barradas; María Blanchard; Francisco Bores; Eduardo Chillida; Martín Chirino; Pancho Cossío; Leandre Cristòfol; Salvador Dalí; Óscar Domínguez; Equipo 57; Ángel Ferrant; Pablo Gargallo; Julio González; Juan Gris; José Guerrero; Antonio López; Maruja Mallo; Manuel Millares; Joan Miró; Manuel Ángeles Ortiz; Jorge Oteiza; Pablo Palazuelo; Benjamín Palencia; Alfonso Ponce de León; Alberto Sánchez; Antonio Saura; José Gutiérrez Solana; Joaquim Sunyer; Antoni Tàpies; Josep de Togores; Joaquín Torres-García; José Val del Omar; Daniel Vázquez Díaz; Esteban Vicente.

Benjamin West’s The Death of a Stag, a tour de force of pictorial theatre and his own unique Scottish masterpiece, has been the focus of high drama for over two centuries. Painted for the Clan Mackenzie in 1786, the gigantic canvas, measuring twelve by seventeen feet, is still the largest in the collection of the National Galleries of Scotland. The painting almost left these shores for America, but after a successful campaign, it was purchased in 1987. In 2004, the work was conserved in situ in the National Gallery of Scotland and this book tells the story of the picture, both in terms of its history and the conservation process.

Known today for his atmospheric views of the river Oise, Charles François Daubigny was a pioneer of modern landscape painting and an important precursor of French Impressionism. Although commercially highly successful he was often criticised for his broad, sketch-like handling and unembellished view of nature, and was dubbed the leader of ‘the school of the impression’. As a result he drew the attention of the next generation of artists, among them Claude Monet and Vincent van Gogh, who were inspired by Daubigny’s frank naturalism, bold compositions and technical innovations. Theirs was an artistic dialogue which spanned thirty years, from the early 1860s to the end of Van Gogh’s short life.

With vivid memories of his first visit to the Scottish National Gallery in the 1970s and his initial encounter with Hugo van der Goes’ The Trinity Altarpiece, Rembrandt’s A Woman in Bed, Velázquez’s An Old Woman Cooking Eggs and Degas’ Diego Martelli, Robert Storr discusses the shifting balance of museum collections from historically ‘certified’ classics to art whose status and significance remains in active contention and from singular ‘treasures’ to ensembles that speak to the larger scope of an artist’s endeavour.

Also available: Unfinished Paintings: Narratives of the Non-Finito Watson Gordon Lecture 2014 ISBN 9781906270919 ‘The Hardest Kind of Archetype’: Reflections on Roy Lichtenstein The Watson Gordon Lecture 2010 ISBN 9781906270384 Picasso’s ‘Toys for Adults’ Cubism as Surrealism: The Watson Gordon Lecture 2008 ISBN 9781906270261 Sound, Silence, and Modernity in Dutch Pictures of Manners The Watson Gordon Lecture 2007 ISBN 9781906270254 Roger Fry’s Journey From the Primitives to the Post-Impressionists: Watson Gordon Lecture 2006 ISBN 9781906270117

In the last twenty-five years contemporary art in Scotland has grown from a tiny and tightly knit scene to a globally recognised centre of artistic innovation and experiment. Generation Reader provides the first collection of key documents from the period including essays, interviews, critical writing and artists’ own texts. This publication will fill a significant gap in the scholarship of the period and provide a resource for the future, an illustrated guide to the ideas, events and debates that shaped a generation. The selected archive texts from the period will sit alongside some newly-commissioned writing which includes essays by the novelist Louise Welch and by Nicola White, Dr Sarah Lowndes, Francis McKee, Professor Andrew Patrizio and Julianna Engberg. GENERATION is a landmark series of exhibitions tracing the remarkable development of contemporary art in Scotland over the last twenty-five years. It is an ambitious and extensive programme of works of art by more than 100 artists at over 60 galleries, exhibition spaces and venues the length and breadth of Scotland between March and November 2014.

The Darnley jewel, a masterpiece of the goldsmith’s art on display at Edinburgh’s Holyrood Palace, has been deemed a love token, but has also been labelled an emblem of political ambition. Taking the shape of a heart, the jewel was produced at a moment (1565-75) when such objects worn by courtiers were a primary means of asserting status and proclaiming allegiances. With a deep medieval history – originally the fleshly power centre of the human body, the seat of the soul, and place of memory and emotion – the heart has many aspects to offer. This book shows how the understanding of the heart changed during the Middle Ages, from spiritual locus of the body, to source of devotion to country, and finally, to the font of love and sentimentality.

Pioneering Edinburgh photographers David Octavius Hill (1802-1870) and Robert Adamson (1821-1848) together formed one of the most famous partnerships in the history of photography. Producing highly skilled photographs just four years after the new medium was announced to the world in 1839, their images of people, buildings and scenes in and around Edinburgh offer a fascinating glimpse into 1840s Scotland. Their much-loved prints of the Newhaven fisherfolk are among the first images of social documentary photography. In the space of four and a half years Hill and Adamson produced several thousand prints encompassing landscapes, architectural views, tableaux vivants from Scottish literature and an impressive suite of portraits featuring key members of Edinburgh society. Anne M. Lyden, International Photography Curator at the National Galleries of Scotland, discusses the dynamic dispute that brought these two men together and reveals their perfect chemistry as the first professional partnership in Scottish photography. Illustrated with around 100 masterpieces from the Galleries’ unique, vast collection of the duo’s groundbreaking work.

“Seldom does a collection of art history essays leave readers yearning for a second volume…”—Barbara Wisch, Renaissance Quarterly
Roman church interiors throughout the Early Modern age were endowed with rich historical and visual significance. During the sixteenth and seventeenth centuries, in anticipation of and following the Council of Trent, and in response to the expansion of the Roman Curia, the chapel became a singular arena in which wealthy and powerful Roman families, as well as middle-class citizens, had the opportunity to demonstrate their status and role in Roman society. In most cases the chapels were conceived not as isolated spaces, but as part of a more complex system, which involved the nave and the other chapels within the church, in a dialogue among the arts and the patrons of those other spaces. This volume explores this historical and artistic phenomenon through a number of examples involving the patronage of prominent Roman families such as the Chigis, Spadas, Caetanis, Cybos and important artists and architects such as Federico Zuccari, Giacomo della Porta, Carlo Maderno, Alessandro Algardi, Pietro da Cortona, Carlo Maratta.

Angry, outrageous, defiant, and courageous are some of the words that describe the American Abstract Expressionist artist Lee Krasner (1908-1984) – the subject of this very personal memoir inspired by Ruth Appelhof’s 1974 summer with her in East Hampton, Long Island. Best remembered by many as Jackson Pollock’s widow, she is regarded more by ‘art-world insiders’ as the producer of a major body of work that influenced the evolution of contemporary art – in particular, that made by women in the 20th and 21st centuries. As a scholar and a friend, Appelhof re-examines Krasner’s contributions in light of the intellectual and emotional experiences that she so candidly shared with her in weeks of interviews. In addition, Appelhof explores Lee Krasner’s relationships with others – friends, art-world luminaries, artists, and other ‘summer sitters’ allowed into her private sanctuary – through interviews. Those recollections will offer a window into the artist’s intense and idiosyncratic personal life as well as into her contributions through the groundbreaking work she produced over the course of more than six decades.

Contents: Prefaces by Helen Harrison, Director of the Pollock-Krasner House and Study Center, and Barbara Rose, Art Historian and Critic; Chapter 1: Driving Ms. Krasner; Chapter 2: The Tapes: Fact or Fiction; Chapter 3: Cards on the Table; Chapter 4: Swing of the Pendulum; Chapter 5: Summer Sitters; Chapter 6: In Spite of Herself.

Published to accompany the Lee Krasner Retrospective at the Barbican Art Gallery, London, fromThursday 30 May-Sunday 1 September 2019, and at Schirn Kunsthalle, Frankfurt, from Thursday 10 October 2019-Sunday 12 January 2020, and at Zentrum Paul Klee, Bern, from Friday 7 February-Sunday 10 May 2020, and at the Guggenheim Bilbao, from Friday 29 May-Sunday 6 September 2020.

500 years ago in Venice, the first ghetto was born. It was the first of many ‘Jewish enclosures’ ordained by political powers, such as the Venetian senate. A place to confine, it soon became an important cosmopolitan and commercial centre of the Republic. The architectural structure of its housing, which became extraordinarily high to accommodate the increasing number of inhabitants, is strictly interlaced with Venetian history, economy and culture. As one of the main Jewish centres in Italy and the Mediterranean, Venice played a crucial role in the Jewish world. The Venetian word ‘geto’ (from ‘gettare’, to throw away) originated from the sector of Venice where scrap metal accumulated from foundries. This was the area assigned to the Jews. Thus the word, over the course of time, has become a synonym for segregation. “Venice, the Jews, and Europe” exhibition runs in Venice until November 13 2016. Dontatella Calabi will be promoting his book at the ‘Beyond the Ghetto’ symposium in New York, hosted by the Center for Jewish History, on 18-19 September 2016.

Hargreaves Associates has been on the forefront of landscape architectural practice since its founding in 1983, creating a narrative approach to place making that layers history, ecology, and environmental phenomena. This book, featuring the built work of Hargreaves Associates explores how they create meaning through dynamic, interactive, and exultant landscape. Whether reductive or rich, highly programmed or passive, culturally interpretive or teeming with the phenomena of nature’s own systems, the built landscapes of Hargreaves Associates in this volume seek the power of connection to our day-to-day lives.

The third publication to come out of the renowned firm, Ronald Lu & Partners celebrates the breadth and creativity of their work in honour of their 35th anniversary. Rather than a retrospective since day one, the book illustrates both their recent works and the people that make RLP what it is today. The book shares their projects, the stories of the people that work there and the changes they have experienced over the past ten years. With raw and un-edited interviews from members of the firm, the book explores a fresh take on what it is like to be a practicing architect in today’s world.

Iñaki Ábalos and Juan Herreros established their studio in Madrid in 1984 and working together until 2006, when the firm was dissolved. They mainly realised projects in Spain. Both architects are still active internationally, Iñaki Ábalos with Ábalos+Sentkiewicz, based in Madrid and Cambridge (MA), Juan Herreros with Estudio Herreros in Madrid. The archive of Ábalos & Herreros was donated to the Canadian Center for Architecture (CCA) in Montreal in 2012. It comprises some 250 projects dating from 1985-2008: sketches and drawings, collages, related text documents, slides and models.

This new book presents three contemporary encounters with the Ábalos & Herreros archive at CCA. The architects OFFICE Kersten Geers David Van Severen, Juan José Castellón and SO – IL conducted research into the archive and developed specific readings of the material. The book reframes these research projects, showing archival material in its current state and re-interpreting it. The essays offer more background to the research and also give voice to Iñaki Ábalos and Juan Herreros themselves. Richly illustrated, the book reveals as much about the interests of a new generation of architects as about the work of Ábalos & Herreros.

Text in Spanish.

Revised, updated, and expanded by nearly 100 projects, this new edition of the catalogue for the “a_show,” Architekturzentrum Wien’s (Az W) permanent exhibition on Austrian architecture of the 20th and 21st century, has become a stand-alone reference book. Its scope extends beyond the themes of the exhibition. Apart from condensing the current discourse on Austrian architecture of the last 150 years, it also documents relevance and singularity of the Az W collection.

Featuring more than 2,300 images and plans, accompanied by explanatory texts structured chronologically as well as thematically the book points out both historical connections and contemporary tendencies. Paired with a timeline, and also offering an overview of all relevant media since 1836, brief biographies, and an index, this is the authoritative survey of modern and contemporary Austrian architecture.

Chandigarh Casablanca: How Architects, Experts, Politicians, International Agencies, and Citizens Negotiate Modern Planning documents two different but complementary urban realities that have played a fundamental role in the imagination, the definition, and the redefinition of the 20th-century modern city. Chandigarh built by Le Corbusier, Pierre Jeanneret, Maxwell Fry and Jane B. Drew together with Indian architects and Casablanca, designed by Michel Ecochard and young Moroccan and French architects, share the foundation in a European-American understanding of avant-garde architecture and urbanism. Yet life and further development of both places have been decisively influenced by their own respective culture. This new book decenters the dominant European-American view and contributes to a new geography of the modern city. The contemporary gaze shifts from the symbolic use of architecture to construct monumental masterpieces to the formation of public space, housing, and social facilities. Comprehensive essays by Maristella Casciato and Tom Avermaete are complemented by a wealth of photographs, plans, documents and other illustrations. The book also features photo-essays by French-Moroccan artist Yto Barrada and Japanese photographer Takashi Homma, counteracting the reading of the two cities as ‘exported urbanism’ . Text in French.

For his entire professional life, British architect Cedric Price (1934-2003) reflected on the mechanisation of society and its effect on people’s lives. In the 1960s and 1970s Price searched for a new language in modern architecture. His multifaceted, interdisciplinary approach and his sense of humour and self-irony, also with regard to his own profession, lead him into the fields of art and of social and natural sciences.

Tanja Herdt’s new book on the work and life of Cedric Price for the first time offers a comprehensive demonstration of his architectural concepts and social visions. Herdt focuses on his view of the city as a socio-technical system, the influence of product and everyday culture on architecture, and the role of science and technology in architectural design. Based on extensive research and drawing from rich and largely unpublished material, she features some of Price’s well-known projects, such as Fun Palace (1961) or Potteries Thinkbelt (1964), in context with her new findings. Herdt’s thorough analysis of his lesser-known works from the 1970s, including McAppy (1973-1975) and The Generator (1976), also questions the common perception of Cedric Price as an “anti-architect”.

Following the liberation and subsequent occupation of Austria at the end of World War II in spring 1945 by the victorious powers Britain, France, the United States, and the Soviet Union, Vienna soon became a central stage for the quickly emerging Cold War. The struggle of differing political systems was also carried out in the field of architecture. Cold War and Architecture sheds new light on the building activity in postwar Austria and its main protagonists. For the first time, this book explores the lines of architectural debates of the time in the context of the global political and cultural conflict of East vs. West. With its transnational perspective, it changes our view of architectural history and postwar society.

During the ten-year occupation period, Austria experienced a transition from authoritarian government to democratic consumer society. Each of the four Allied powers established its own extensive cultural program. Architectural exhibitions became important instruments of such educational schemes with the objective of a new social order. British, American, French, and Soviet cultural policies served as catalysts for ideological convictions.