This scholarly catalogue provides a rich survey of the outstanding English drawings and watercolors in the National Gallery of Scotland’s collection. It ranges from the art of the Stuart court to the late Victorian period – from Isaac Oliver to Lord Leighton. Highlights include important works by artists such as William Blake, John Sell Cotman, John Robert Cozens, John Flaxman, Thomas Gainsborough, Thomas Girtin, Edward Lear, John Frederick Lewis, Paul Sandby and J.M.W. Turner. Key works are illustrated in colour and the text provides an authoritative commentary on issues such as their function, history, date and technique. The catalogue will be a valuable resource for students, art historians, collectors, dealers, picture researchers and all serious enthusiasts for British art.

This book brings together works from one of the most important private collections of modern and contemporary art, the D. Daskalopoulos Collection with key pieces from the Scottish National Gallery of Modern Art. Providing a new context for both collections, it specifically focuses on the theme of the body, investigating the many and varied approaches that artists have taken across several decades when dealing with this most fundamental of subjects. Highlighting the work of artists such as Marcel Duchamp, Pablo Picasso, Louise Bourgeois, Joseph Beuys, Robert Gober, Matthew Barney, Marina Abramovic and Sarah Lucas, the publication documents the confrontations and dialogues staged between the two collections, and provides a rich insight into one of the most compelling and provocative themes in twentieth- and twenty-first century visual art.

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 endeavor.

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 recognized center 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 program 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 center 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.

Intizar Husain is the finest writer of Urdu prose and the most brilliant story-teller of the post-partition generation. The two novellas, Day and Dastan (Din Aur Dastan), his favorite texts, show his versatility and fictional inventiveness. Day, a realistic story, is a meditation on the cruellest of events to have scarred our times – migrations. When people are forced to move to new homes or new geographies, they only recall a mix of uncanny facts, streets lost in sad nostalgias, fantasies of lovers, parables of simple things, or an unending romance about a possible life and a world. While physical geographies are redrawn, moral landscapes become so bewildering as to leave one emotionally paralyzed. As in Intizar Husain’s other work, India’s partition haunts the tale like an inexplicable shadow.

In contrast, Dastan is a traditional tale of wonder. Its language is lyrical and exaggerated; its narrative, obsessed with action, weaves dreams and adventure, heroism and mercy, beauty and love, magic and grace. It is located in another time of turmoil and uncertainty when mysterious forces cause havoc in nature, and societies rise up suddenly to avenge old wrongs. The 1857 war of independence is prophesied by a mysterious faqir; rivers suddenly break their banks; an old haveli is left desolate; a princess weeps beside a fountain; a parrot shows a soldier the road to take; and hope of political change is fatally lost. Intizar Husain is neither a social critic nor a preacher; he is a story-teller – a supreme one.

Three things come together in the series of paintings depicted in this book: a great text, a delectable old romance, and the work of one of the most talented families of painters.

The text is the 12th century Naishadhacharita of Sriharsha, one of the last great kavyas of Sanskrit literature; the story, told with the utmost delicacy, centres around the intense love that grew – mutual sights heard of, but yet unseen – between King Nala and Princess Damayanti. The painter family that produced this exquisitely painted series came from the small principality of Guler in the “Pahari” hills: today’s Himachal Pradesh. The intent of the painter/s was to cover the story in close to 110 paintings, but only 47 paintings could be completed all of them now in the collection of the Amar Mahal Museum and Library at Jammu, and here published the remaining having survived only in the form of highly finished drawings.

Jack Allanach leaves home impulsively – in search of his true self – meets a married man, Michael (whose wife he also marries several years later), becomes his lover and sets out to travel with him, doing Dynamic Meditation on a Bombay beach. They take sannyas as Krishna Prem and Divyananda – disciples of Osho – and take part in a quasi-survivor experiment in a group of thirty people, building huts by a river with their hands. A commune establishes around Osho in Pune and people from all over the world arrive for discourses, therapy and meditation. As head of the commune’s Press Office, Krishna Prem meets Indian Prime Ministers Indira Gandhi and Morarji Desai, as well as international journalists probing Osho’s controversial views on sex and consciousness. In a hive of mysticism, past-life experiences and inexplicable events, Krishna Prem embarks on his first fulfilling relationship with a woman.

Some years ago the study of arms and armor of the subcontinent reached a plateau where enough was known to allow curators and collectors a veneer of authority when writing and speaking about the topic. This book shows how very thin that veneer was. For political and more recently commercial reasons the cultural history of the subcontinent has been largely expressed through the Mughal experience of India. Whilst it is true that the Muslim Mughals dominated India the empire they ruled was predominantly Hindu. This book reclaims the Hindu contribution to the military culture of the Mughal period. The Rajputs were very closely aligned to the Mughals from the reign of Akbar in the sixteenth century but they retained their own distinctive values. The armory at Mehrangarh helps us to enter an unfamiliar world. A tradition of courage and self-sacrifice was conserved in music and poetry, an ideology so extreme that scholars have struggled to concede its existence. This radical book challenges arms and armor orthodoxy and is essential reading for scholars, collectors and dealers interested in India and its wider culture.

Edited by Carl Brandon Strehlke and Machtelt Brüggen Israëls, The Bernard and Mary Berenson Collection of European Paintings at I Tatti surveys the 149 works assembled by the Berensons for their home in Florence from the late 1890s through the first decades of the twentieth century at the time that they were making their mark on the world as connoisseurs. The catalogue presents a privileged window on the Berensons’ intellectual interests through the objects they owned. The entries, written by an international team of art historians, take full advantage of the extensive correspondence from the Berensons’ friends, family, and colleagues at I Tatti as well as the couple’s diaries and notations on the backs of their vast gathering of photographs. All the entries are lavishly illustrated with full scholarly and technical accountings of the objects. There are also 17 illustrated reconstructions of the original contexts of panel paintings. The catalogue includes essays on the progress of the Berensons’ collecting, their love for Siena, the Sienese forger Icilio Federico Joni, the critic Roger Fry, and René Piot’s murals at I Tatti, as well as a listing of 94 pictures that were once at I Tatti including donations made to museums in Europe and America.

Contents:
Preface Lino Pertile; Acknowledgments – Carl Brandon Strehlke and Machtelt Israëls; Note to the Use of the Catalogue; Abbreviations; Glossary of People in the Berenson Circle Mentioned in the Text; Section I: Introductory Essays and Entries 0 to 111; Essay I: “Bernard and Mary Collect: Pictures Come to I Tatti” – Carl Brandon Strehlke; Essay II: “The Berensons and Siena” (working title) – Machtelt Israëls; Essay III: “Passions Intertwined: Art and Photography at I Tatti” – Giovanni Pagliarulo; Entries: Paintings from the 14th to 18th century – Plates 0 to 111; Section II: Fakes; Essay IV: The Berensons and the Sienese Forger Federico Ioni – Gianni Mazzoni; Entries: Fakes – Plates 112 to 116; Section III: Roger Fry; Essay V: “Roger Fry and Bernard Berenson” – Caroline Elam; Entry: Fry – Plate 117; Section IV: René Piot; Essay VI: “A Failure: René Piot and the Berensons” – Claudio Pizzorusso; Entries: Piot – Plates 118 to 131; Section V: The Berensons, Family and Friends; Entries: Portraits – Plates 132 to 138; Entries: Miscellanea – Plates 139 to 148; Appendix: Paintings Formerly Owned by the Berensons – Carl Brandon Strehlke and Machtelt Israëls; Bibliography; Photo Credits; Index.

“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.

As the turn of the eighteenth century approached Great Britain, more and more parents and teachers embraced a suggestion from the philosopher John Locke: that “learning might be made a play and recreation to children”. Victorian and Georgian Games from the Liman Collection beautifully demonstrates board games from the time. Showcasing 60 games that were made for both instruction and delight, the book reflects on a transatlantic market that flourished into and throughout the nineteenth century. Although games were often printed on linen or board instead of delicate paper, many fell apart thanks to enthusiastic use. But those that do survive open a window onto the time period in which they were created, reflecting its social and moral priorities as well as every educational subject. Victorian and Georgian Games from the Liman Collection enables us to follow the course of the Industrial Revolution and the expansion of the British empire, alongside changing attitudes toward childhood and education. The book shines a light on a corner of children’s culture, as well as the adults who created it.

Vincent Mangeat became internationally renowned in1988 following the construction of his building for the Cantonal High School in Nyon. Influenced by his work experience in Paris, training under Jean Prouvé and a spell as Assistant to Hans Brechbühler and Pierre Foretay at the EPF Lausanne, Mangeat s work bridges the gap between two architectural eras, namely the Tessin Tendenza of the ’70s and ’90s architectural styles with their exponents in the German-speaking region of Switzerland. But his work has always remained independent and rooted in western Switzerland. From his first residential building in Evolène (1969) to his current projects, including a house for writers at the foot of the Jura mountains, his wealth of architectural achievements form a important a part of his life and work as his permanent, valuable teaching activity.

Text in English, French and German.

The artist Emma Stibbon is fascinated by environments in flux. Her work often explores the impact of natural forces: the shifting tectonic plates, volcanic activity and powerful glaciers that shape and transform the Earth’s surface.

Stibbon has accompanied research expeditions in the Arctic and Antarctic Oceans, lived and worked among volcanoes in Hawai’i, and has made several visits to Stromboli, off the coast of northern Sicily, Iceland and Norway. This book presents the sketches she made during her travels. They have the immediacy that results from an artist working at speed and often in difficult circumstances. Readers will discover the unexpected visual effect of ink that has frozen on contact with the paper.

The book is introduced by the artist who, informed by her discussions with vulcanologists and glaciologists, explains why she is drawn to depict nature’s extremes.

Pablo Picasso’s artistic output is astonishing in its ambition and variety. This handsome new publication examines a particular aspect of his legendary capacity for invention: his imaginative and original use of paper.

He used it as a support for autonomous works, including etchings, prints and drawings, as well as for his papier-collé experiments of the 1910s and his revolutionary three-dimensional ‘constructions’, made of cardboard, paper and string. Sometimes, his use of paper was simply determined by circumstance: in occupied Paris, where art supplies were hard to come by, he ripped up paper tablecloths to make works of art. And, of course, his works on paper comprise the preparatory stages of some of his very greatest paintings, among them Les Demoiselles d’Avignon (1907) and Guernica (1937).

With reproductions of more than 300 works of art and additional texts by Violette Andres, Stephen Coppel, Emmanuelle Hincelin, Christopher Lloyd, Johan Popelard and Claustre Rafart Planas, this sumptuous study reveals the myriad ways in which Picasso’s genius seized the potential of paper at different stages throughout his career.

Rabbit Cloud and the Rainmakers is an endearing folktale brought to life in the 21st century. An engaging quest on one level, it introduces themes of social responsibility and environmental issues.

Awadh has historically been among the most important regions in India, politically, religiously and socially, and holds a vital position with respect to the development of Indian fashion. As such, fashion and history are not mutually distinct, but rather intricately intertwined. This book takes a fascinating journey, connecting dates and events to the evolution of costumes, textiles, colors, motifs and ornamentations from the eighteenth century up to present-day India. It recaptures the ambience of the Nawabi Era and the British Raj in Awadh, and makes them relevant for contemporary times. Costumes & Textiles of Awadh is the culmination of five years of research into an area hitherto untouched by books on costumes. The work is further embellished with rare photographs and exclusive pictures of costumes and textiles. The book makes for an important reference work on the rich textile history of an important region of India, and will appeal to anyone with an interest in the intricacies of fashion with history.

The world changed after the First World War. Its aftermath saw the collapse of the German, Russian, Austro-Hungarian, and Ottoman empires, and the world map never seemed the same again. Though the Great War is widely considered to be a European war, it had enormous effects halfway across the world in India. At the advent of the war, the number of Indian soldiers fighting exceeded the number of British soldiers. Because of funds reallocated to Britain’s advantage, India’s economy took a toll as well.

The Indian National Congress believed that supporting Britain’s war efforts would benefit India’s move towards independence. As a result, over a million Indian men were deployed to fight for the British. Post the war, Britain’s refusal to grant India home rule created hostility among the Indians towards them. This dissent eventually paved way for the Indian independence movement, which was to emerge later.

For the first time India’s contribution to the First World War is carefully documented with details of the different theaters in which Indian soldiers took part. In addition, the authors also examine the unsettling encounters the Indian soldiers had with Europe and European culture. What did the war mean for the political climate in India? What was it like for the Indian soldiers to fight a war they were unprepared for? Using first hand accounts such as letters home, documents from the various army archives and incredible photographs, the authors reconstruct the story of a war which was as much India’s as it was Britain’s.

Defining a distinct style of painting produced in India during the British period and influenced by European artistic norms, this catalogue of Company Paintings in the TAPI (Textiles & Art of the People of India) Collection is a unique illustration of the social milieu prevailing in India in the nineteenth century. Tracing the origins and evolution of this genre of painting, the volume shines a fresh beam on subjects commissioned to be painted by officials of the East India Company, such as occupations, customs, dress, bazaars, festivals and daily life of ordinary people, a world removed from the elite and princely environment that was the chosen subject of Indian miniature artists. The catalogue of the TAPI Collection of Company Paintings highlights works from the major regions where such paintings were produced – Murshidabad, Calcutta, Patna, Lucknow, Delhi, Punjab, Kutch, Tanjore, Trichinopoly, Madras, Kerala and the Andhra Coast. It comprises a rich and accurate record of the diverse modes of dress and manners of the people before the advent of photography. This catalogue documents the first-ever exhibition on the subject to be held in India, being a collaboration between TAPI and CSMVS (Chhatrapati Shivaji Maharaj Vastu Sangrahalaya, formerly the Prince of Wales Museum of Western India).

After the global success of the award winning Pure & Simple: Homemade Indian Vegetarian Cuisine, celebrated cookbook author Vidhu Mittal delves deeper into the nuances of Indian vegetarian food in her new book, Pure & Special: Gourmet Indian Vegetarian Cuisine.
Pure & Special is a collection of recipes that elevates the food lover to the next level of vegetarian cooking. A mix of traditional, festive dishes, contemporary favourites, and innovative renditions, each recipe extols the variety and virtue of vegetables in Indian cooking. Continuing in the tradition of the previous book, Pure & Special has easy-to-follow recipes with step-by-step photographs for each dish. Every recipe carries useful tips and special notes from the author, explaining the uniqueness of each dish. Ingredient descriptions and helpful menu suggestions make this book a must have for both the beginner as well as the seasoned cook. Contents: Introduction; Discover Spices; Know Your Vegetables, Fruits & Nuts; Goodness of Lentils; Drinks, Soups, & Salads; Snacks & Starters; Main Course; Rice & Breads; Accompaniments; Desserts; Cooking Processes; High Tea Menus; Festive Menus; Index.