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Ten more handscrolls from the series Collection of Ancient Calligraphy and Painting Handscrolls: Paintings have rich themes and diverse styles, such as vivid portraits, exquisite landscape paintings, and meticulous paintings of flowers and birds. The paintings are accompanied by texts written by experts, offering detailed analysis of the artists’ works. It is a powerful tribute to Chinese ancient paintings and provides original insight into the work itself. In this series (volumes 11-20), most of handscrolls are painted in Song Dynasty, in which painting became an art of high sophistication and reached a new level of sophistication with further development of landscape painting. The original paintings have been in the collection of the Palace Museum or the Taipei Palace Museum for many years.

The artworks are presented in the traditional format of a handscroll which can be extended indefinitely, so that the postscripts and observations of later generations can be directly followed by the end of the works.

A Shepherd’s Life centres on Jenny Armstrong, born in 1903 at the farm of Fairliehope, who spent her life working as a shepherdess in the Pentland Hills. In a series of remarkable paintings made over twenty years and based on close observation, Victoria Crowe, one of Scotland’s foremost painters, pays tribute to the life and work of this exceptional woman. In spite of their different ages and backgrounds, the two women came to value each other’s company and it was through the shepherdess that the artist learned how to interpret the surrounding landscape. At the same time the paintings depict an ancient way of living that has been long in the decline and which, at the start of a new millennium, may be finally disappearing.

This volume focuses on Bridget Riley’s energetic ‘curvilinear’ works from a 2006 exhibition by Bridget Riley. The paintings incorporate complex layers of flowing forms that interlock and move with one another, reflecting the artist’s exploration of curves to create paintings of great energy and movement.

Using a patch of colour that is similar to a brush mark, Riley’s forms interrupt and threaten to break out from the picture plane, overhanging the frame to jostle and animate the visual field. Refining and developing this form in recent paintings, the artist’s work offers an incredible melding of form and colour.

Featuring over 20 full-colour illustrations, this publication includes an in-depth essay by Paul Moorhouse examining the changes within Riley’s work throughout her multi-decade career.

The Vatican Museums is one of the most important museum complexes in the world, housing incredible masterpieces from the Egyptian Age to the late Renaissance.

The Vatican Museums hold a treasure trove of art and history, as well as an inestimable patrimony of our culture and our civilisation. This volume focuses on the paintings to be found in the collection – including The Sistine Chapel.

Text in English and Italian.

Russian Sergey Karpunin is a man of many talents. His floral art collected in this first monograph ranges from traditional designs, to refined symmetric arrangements and floral Pop Art. Schooled and proficient in both Ikebana, the minimalist Eastern and classic Western style of arranging, his signature style is technical but never dull or sterile. Karpunin is a prominent figure on the forefront of Russian floristry. As an advisor and referee for many Russian and European floral competitions he influences a whole new generation of budding florists. Sergey Karpunin’s outstanding designs in Stichting Kunstboek’s International Floral Art 2010/2011, deservedly won him the first prize in the book. Reason enough to put this colourful person and his eclectic body of works in the limelight. Contents: Includes three chapters focusing on bouquets in different/contemporary styles: art nouveau, constructivism and pop art. Last two chapters on objects and textures made with plant material.

Make the most of Norwich with this new guide to the sights and secrets of East Anglia’s premier city, from the unknown treasures of its magnificent cathedral to the legends and stories behind its historic pubs. It’s a place of numerous historical layers, with intrigue and interest lurking on every corner, from the black circus proprietor who inspired one of The Beatles’ most famous songs to remnants of England’s most notorious red-light districts. It’s eminently walkable, too, but you can also bike or even canoe your way around the centre, maybe even heading out to explore the natural beauty of Broads National Park which lies just beyond.

Mixing Roman and medieval roots, Chichester sits at the heart of a storied landscape where South Down hills dotted with idyllic hamlets ripple back from a shoreline mixing wild dune-backed beaches with old-school seaside resorts. Reminders of smuggling and war add spice.

But a thrilling thread of modernity runs through this slice of West Sussex too. Chichester’s modernist Festival Theatre provided the foundation for London’s National Theatre, while masterpieces of contemporary architecture that draw admirers from around the world include Sea Lane House in East Preston and The White Tower in Bognor Regis.

Evocative ancient memorials abound. Chichester is blessed with the only English cathedral visible from the sea, while England’s largest castle rises above the ravishing – and cosmopolitan – riverside town of Arundel. Ancient yew trees mark the burial spots of Viking warriors in an idyllic Downland spot. And it’s a land vibrant with creative imprints: poets, painters, composers, from Blake and Keats to Joyce and Chagall.

This guidebook takes you exploring Chichester and its surroundings to find incomparable natural beauty, hidden secrets, astonishing history, art of all kinds, and much more.

Giuseppe Terragni, an influential proponent of modernism in Italian architecture and design in the 1920s and 1930s, translated the visual vocabulary of Le Corbusier and Mies van der Rohe into what became known as the Rationalist School of Architecture. This monograph covers his later years (he died in 1943), with a focus on the war and his devastating experience as a soldier. It includes some notable projects from the 1930s like the Casa del Fascio in Como, and the designs for an unrealised final project for a cathedral that he did in the days before his death. The book is illustrated with historical photographs and includes letters Terragni wrote from the front.

For the past 15 years, Michael L. Horowitz has been photographing the interiors of Manhattan’s historic churches and synagogues. Though their exteriors are often unassuming and overlooked by passers-by, their interiors are spectacular, uplifting worshippers and architectural devotees alike. In this book, Horowitz takes us from Lower to Upper Manhattan, from the colourful wall paintings of Bialystocker Synagogue, to the jewel-like stained glass windows of Saint Patrick’s Cathedral, to the awe-inspiring wooden ceiling of the Holy Name of Jesus and Saint Gregory the Great Parish. A lively and informative text by Elizabeth Anne Hartman tells the stories behind each of the 65 houses of worship featured. These sacred edifices reflect the hopes and aspirations of the many different communities that helped build the metropolis, expressed in numerous architectural and artistic styles. And many of these interiors bear the imprint of notable personalities in Big Apple history, from Clement Moore of The Night before Christmas to pioneering Black philanthropist Pierre Toussaint. This handsome volume, nourishing to the eyes and soul, offers a new perspective on the city to New York residents and visitors alike.

An introductory resource to architects and an inspiration to contractors, developers and structural consultants who have encountered Tilt Wall construction. Brown provides a full synthetic treatment of Tilt Wall construction, explaining its history, methodology, and relationship to the current architectural approaches to meaning. Inclusion of practical reference and resource sections in the book will appeal to a cross-disciplinary audience.

The collections of twentieth-century paintings in the Ashmolean Museum, Oxford, have developed largely through the generosity of individuals. Notable among these in the early decades of the century were Frank Hindley Smith and Mrs W F R Weldon, while since the Second World War the Museum’s collections have been enriched through gifts and requests from Thomas Balston, R A P Bevan, Molly Freeman, Christopher Hewett and others. This book gives the reader a taste of the wide range of the collection, with its representative group of Camden Town and Euston Road School pictures, and important early works by Bonnard, Picasso and Matisse.

This thought-provoking essay by Corinna Thierolf stems from the art created by Fabienne Verdier in a visual and spiritual dialogue with the Isenheim Altarpiece by Matthias Grünewald (1516), housed at the Musée Unterlinden in Colmar. Between 2019 and 2022, Verdier produced to a series of 78 large-format paintings that develop Grünewald’s meditation on light, drawing not only upon significant moments in the history of science, but also on pivotal themes of both Eastern and Western painting and thus confirm the universal power of art.

Text in English, French and German.

In the decade before his death in 2011, John Hoyland began to reckon with mortality. Confronting his own demise, he painted elegies to departed artist friends and tributes to illustrious artistic forebears. Imagery of the void looms large, but it is a void faced with defiance and vitality, less a rumination on the end than a celebration of life. This publication explores the paintings Hoyland made in this decade, including his final series, the Mysteries.

Essays by Natalie Adamson, David Anfam, Matthew Collings and Mel Gooding offer a rich and multifaceted account of a complex body of work. Hoyland’s veneration of Vincent van Gogh, his connections to J.M.W. Turner, the use of black as a colour, his deployment of risk and attempts to subvert his own taste, and his development of the cosmic visual language of the Abstract Expressionists are all discussed. Richly illustrated, the book extends our understanding of Hoyland’s late work within the story of modern painting as a whole.

In this publication, Ellen Harvey restores the ties between the city of Bruges and the harbour. In a new installation, behind a mirrored wall punctuated with peepholes, Harvey has hung a selection of paintings dating from the seventeenth to the early twentieth century, all of which belong to the reserve collection. Her work is an invitation to rediscover these rarely seen artworks. The paintings of the city, the canals, and the sea are reflected in the panorama on the opposite wall: Harvey’s painted maps (2,75 x 21 metre) based on satellite images. The elaborate waterways, executed in mirrored glass, demonstrate the importance of the rivers and canals for the city. The British artist Ellen Harvey (b1967) lives and works in New York. Her work includes video art, installations and paintings. She has exhibited throughout the world, from Warsaw to Berlin, Los Angeles to Prague etc. Between 1999 and 2001 she brightened up the streets of New York with her ‘NY Beautification Project’: 40 small tondos and oval landscape scenes were applied between graffitis and tags on places and carriers in the city, such as containers, garage doors, walls… Text in English and Dutch.

Edvard Munch (1863–1944) is one of the most influential figures in modern art. His career spanned more than 60 years, from his debut in the 1880s right up until his death in 1944. Munch was part of the Symbolist movement in the 1890s and was a key forerunner of the Expressionist movement that emerged at the start of the 20th century. His continually experimental approach to painting, printmaking, drawing, sculpture and photography earned him a unique position in Norwegian and international art history. Munch bequeathed almost all the artworks in his possession at the time of his death to the City of Oslo. This bequest, which comprised approximately 26,500 original works, became the basis of the Munch Museum’s collection. The museum opened in 1963, one hundred years after Munch’s birth. Today the collection includes more than half of all Munch’s paintings and examples of almost all his original prints.

This book contains posters of 16 paintings that were of crucial importance in Edvard Munch’s artistic career, accompanied by brief but informative texts. Iconic images such as The Scream, Madonna and The Vampire are just some of the pictures you can hang on your wall.

‘To critics who said that the full-lipped so-called ‘Beardsley mouth’, which adorned many of his women, was ‘inexpressive and ugly’, the artist countered, ‘Well, let them criticise. It’s my mouth and not theirs. I like big mouths. People like the little mouth – the “Dolly Varden” mouth, if that describes it better. A big mouth is the sign of character and strength. Look at Ellen Terry with her great, strong mouth. In fact, I haven’t any patience with small-mouthed people.’ ‘The popular idea of a picture is something told in oil or writ in water to be hung on a room’s wall or in a picture gallery to perplex an artless public.’ ‘To my mind, there is nothing so depressing as a Gothic cathedral. I hate to have the sun shut out by the saints.’ ‘What a nice ample creature George Sand is: like a wonderful old cow with all her calves.’ And other witty, urbane insights on life, art, and culture, illustrated with selected drawings from his Grotesques series.

This richly illustrated monograph delves into the innovative output of one of the world’s most prolific international design and architecture practitioners, Tokyo-based Shigeru Ban. Canvassing an enormous compilation of works, this title is a significant contribution to IMAGES’ stable of works showcasing renowned architects from around the globe. This book features an array of innovative projects, from commercial and residential innovation strategies to humanitarian works, such as emergency shelters made from paper and modular shelters for earthquake victims. Shigeru Ban’s visionary residential design philosophies encompass timber hybrid structures, including a building constructed from cardboard tubes; the tallest hybrid timber structure in the world for a residential tower in Vancouver; as well as the new home designed for the Aspen Art Museum, which features woven wooden cladding. His innovation extends to the industrial design of an architect’s scale pen used for drawing. This book also helps to relay Shigeru Ban’s contemporary discourse on architectural culture, and how it is moving in new directions. This title is a must-have for any serious aficionado of modern architecture, innovative thinking, and design.

This publication, which features 220 large-format photographs, offers us a visual tour of the houses that belong to the Duchess of Alba in Madrid (The Liria Palace), Seville (The Palace of Las Dueñas), Salamanca (The Palace of Monterrey), Ibiza and San Sebastián.

The images were taken by the renowned interior photographer, Ricardo Labougle, whilst the architectural notes were written by the architect and university professor, Rafael Manzano. The whole project was coordinated by Naty Abascal.

Born in 1926, the goddaughter of Queen Victoria Eugenia of Spain, the Duchess of Alba holds the world record for the most aristocratic titles. Indeed, her full name is Maria del Rosario Cayetana Alfonsa Victoria Eugenia Francisca Fitz-James Stuart y de Silva and she is a duchess seven times over, a countess 19 times and a marquesa 23 times.

The 86-year-old noble, who is internationally famous for holding more titles than anyone else in the world (and for having fabulously eccentric style) is head of the 530-year-old House of Alba, and as such is entitled to ride her horse into Seville Cathedral, and according to protocol does not have to kneel before the Pope. It is said she could walk from the northern tip of Spain to the southernmost point without leaving her native lands. In 1947, the Duchess married Don Pedro Luis Martinez de Irujo y Artacoz, son of the Duke of Sotomayor. The wedding was considered to be the last great feudal wedding in Spain and attracted the attention of the international media.

The Duchess has been the subject of much media attention in her native Spain, and is admired for her eccentric and bohemian fashion sense. A famed beauty in her youth, she once famously declared that her style icon was “myself”.

The series contains a collection of masterpieces by famous Chinese painters of all ages, with a rich variety of subjects and styles. It presents a selection of paintings from the Tang and Song dynasties, including figure and landscape paintings, showing the splendid charm of traditional Chinese painting at its peak from multiple perspectives. The volumes are accompanied by expert interpretations, analysing the characteristics of the paintings and the key points of appreciation, and guiding the reader through the beauty of the paintings in an insightful text.

A unique insight into the ways in which one of today’s leading artists is inspired by great works of the past. In 16 emphatically modern new paintings, renowned artist, Alison Watt, responds to the remarkable delicacy of the female portraits by eighteenth-century Scottish portraitist, Allan Ramsay. Watt’s new works are particularly inspired by Ramsay’s much-loved portrait of his wife, along with less familiar portraits and drawings. Watt shines a light on enigmatic details in Ramsay’s work and has created paintings which hover between the genres of still life and portraiture. In conversation with curator Julie Lawson, Watt discusses how painters look at paintings, explains why Ramsay inspired her, and provides unique insight into her own creative process. Andrew O’Hagan responds to Watt’s paintings with a new work of short fiction and art historian Tom Normand’s commentary explores further layers of depth to our understanding of both artists.