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Notes:

• Bibliography: p. 174.

Subjects:

• Art, African.
• Sculpture, African.
• Blacks — Africa
• Art, Primitive.

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Subjects:

• Art, German.
• Art patronage — Germany.

Requested by Augsburg Archives

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Notes:

• Includes bibliographical references and index.
• Introduction: art, risk, and creativity. Art, risk, and identity. Art making : artists, subjects, technologies and media — Experiencing art : sight, site, and perspectives of viewing — If looks could kill : aesthetics and political expression — Embedding identity : marking the Ife body. Politics, representation, and regalia. A gallery of portrait heads : political art — Animal avatars : art, identity and the natural world — Crowning glory : the art and politics of headgear — Battling with symbols : scepters, staffs, and seats.

Subjects:

• Art, Yoruba — History.
• Art, Yoruba — Political aspects.
• Art and society — Nigeria — Ife.
• Ife (Nigeria) — Antiquities.
• Ife (Nigeria) — Civilization.
• Creative ability in technology — Nigeria — Ife.
• Yoruba. (DE-588)4079438-6 gnd
• Kunst. (DE-588)4114333-4 gnd
• Kreativität. (DE-588)4032903-3 gnd
• Kunstethnologie. (DE-588)4452785-8 gnd
• Gesellschaft. (DE-588)4020588-5 gnd
• Ife. (DE-588)4095889-9 gnd
• Nigeria. (DE-588)4042300-1 gnd

Requested by Anderson, K.

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Part of the series The Arts of mankind, v. 7;Arts of mankind v. 7.
Notes:

• Includes bibliographical references (pages 359-366).
• Gift of the John W. Cavanaugh Family Foundation.
• Italy and the world — Italy and culture — The centres — Conflict of the major arts and new techniques — Conclusion : Italy and the West — Illustrated documentation — Notes on the text — Chronological table — Glossary-index — Bibliography — List of illustrations — Maps.

Subjects:

• Art, Italian.
• Art, Renaissance — Italy — History.
• Italy. fast (OCoLC)fst01204565
• History. fast (OCoLC)fst01411628

Requested by Gift from Augsburg Archives

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Notes:

• Includes bibliographical references and index.
• Dewey Albinson — Cameron Booth — Clement Haupers — Elof Wedin.

Subjects:

• Modernism (Art) — Minnesota.
• Artists — Minnesota — Biography.
• Artists. fast (OCoLC)fst00817559
• Modernism (Art) fast (OCoLC)fst01024442
• Minnesota. fast (OCoLC)fst01204560
• Biography. fast (OCoLC)fst01423686

Requested by Kurpiers, R.

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Notes:

• Roy Lichtenstein: A Retrospective was published in conjunction with an exhibition of the same title organized by the Art Institute of Chicago, in cooperation with the Tate Modern, London.
• Includes bibliographical references and index.
• Introduction / James Rondeau and Sheena Wagstaff — On the dot / Harry Cooper — Picasso in two acts / Iria Candela — Missing modernism / Sara Doris — See-sickness: Roy Lichtenstein’s moving pictures / Chrissie Iles — Two birds with one stone / Yve-Alain Bois — Studio artist / James Lawrence — Pop geometries / James Rondeau — Landscapes in the Chinese style / Stephen Little — Late nudes / Sheena Wagstaff — Plates.
• The most iconic works of Roy Lichtenstein (1923-1997) are widely known, reproduced, copied, and even parodied. However, the true diversity and complexity of his oeuvre is little understood, and the full scope of his career is largely absent from the existing literature. Presenting over 130 paintings and sculptures, as well as over thirty seldom- or never-before-seen drawings and collages, this book examines all periods in Lichtenstein’s career, going well beyond his brushstrokes and the classic Pop romance and war cartoon paintings that made him famous.Roy Lichtenstein: A Retrospective features exciting new scholarship by an international team of distinguished curators, critics, and art historians. Essays by Yve-Alain Bois, Chrissie Iles, and Stephen Little, among others, give special consideration to Lichtenstein’s historical influences, from Picasso and Cubism through Surrealism, Futurism, and British Pop. Contributions by James Rondeau and Sheena Wagstaff evaluate the artist’s abstract work and late nudes. Complemented by photographs of the artist and his seminal exhibitions, the essays examine the various styles and subjects featured in paintings created throughout his lifetime. The inclusion of a complete chronology of Lichtenstein’s life and work–compiled by Clare Bell of the Lichtenstein Foundation–makes this retrospective the most authoritative publication on the artist since his death in 1997 — Provided by publisher.

Subjects:

• Lichtenstein, Roy, 1923-1997 — Exhibitions.
• ART / Individual Artists / Monographs. bisacsh
• ART / Collections, Catalogs, Exhibitions / General. bisacsh
• ART / History / Contemporary (1945-). bisacsh

Requested by Kurpiers, R

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Notes:

• Includes bibliographical references (page 220-222).
• Come as You Are: Art of the 1990s is the largest and most ambitious contemporary art exhibition ever to be mounted by the Montclair Art Museum. The exhibition and book spotlight a pivotal moment in the recent history of art. Chronicling the long 1990s between 1989 and 2001-from the fall of the Berlin Wall to 9/11- Come As You Are examines how the art of this period both reflected and helped shape the dramatic societal events of the era, when the combined forces of new technologies and globalization gave rise to the accelerated international art world that we know today — Provided by publisher.
• Issued in connection with an exhibition held at the Montclair Art Museum.
• Chaotic Input : Art in the United States, 1989-2001 / Alexandra Schwartz — Unfinished Business as Usual : African-American Artists, New York Museums, and the 1990s / Huey Copeland — Costume : Come as You Aren’t / Jennifer A. González — After Endgame : American Painting in the 1990s / Suzanne Hudson — As the World Turns in 1990′s America / Joan Kee — Ill Communication : Anxiety and Identity in 1990s’ Net Art / Kris Paulsen — Event Horizons : Gabriel Orozco and the 1990s / Paulina Pobocha — A Place to Call Home : Artists In and Out of Los Angeles, 1989-2001 / John Tain — The Exhibition/Plates / Alexandra Schwartz — 1989-1993 — 1994-1997 — 1998-2001 — Selected Chronology : Art, Culture, and Society in the 1990s / Frances Jacobus-Parker.

Subjects:

• Art, American — 20th century — Exhibitions.

Requested by Anderson, K.

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Notes:

• Includes bibliographical references (pages 317-326) and index.
• A comprehensive and richly illustrated survey of Venetian Renaissance architecture, sculpture, and painting created between 1400 and 1600 addressed to students, travellers, and the general public. The works of art are analysed within Venice’s cultural circumstances–political, economic, intellectual, and religious–and in terms of function, style, iconography, patronage, classical sources, gender, art theories, and artist’s innovations, rivalries, and social status. The text has been divided into two parts–the fifteenth century and the sixteenth century–each part preceded by an introduction that recounts the history of Venice to 1500 and to 1600 respectively, including the city’s founding, ideology, territorial expansion, social classes, governmental structure, economy, and religion. The twenty-six chapters have been organized to lead readers systematically through the major artistic developments within the three principal categories of art–governmental, ecclesiastic, and domestic–and have been arranged sequentially as follows: civic architecture and urbanism, churches, church decoration (ducal tombs and altarpieces), refectories and refectory decoration (section two only), confraternities (architecture and decoration), palaces, palace decoration (devotional works, portraits, secular painting, and halls of state), villas, and villa decoration. The conclusion offers an overview of the major types of Venetian art and architectural patronage and their funding sources –Provided by publisher.
• I. Fifteenth-century Venice — Civic architecture and urbanism — Churches — Ducal tombs — Freestanding public sculpture — Altarpieces — Confraternities — Palaces — Nonnarrative devotional painting — Narrative devotional painting — Portraits of men — Portraits of women — II. Sixteenth-century Venice — Civic architecture and urbanism — Freestanding public sculpture — Churches — Altarpieces — Ducal tomb — Refectories — Confraternities — Palaces — Nonnarrative devotional painting — Narrative devotional painting — Secular painting — Portraits of men — Portraits of women — Halls of state — Villas of the Veneto — Conclusion: Patronage.

Subjects:

• Art, Renaissance — Italy — Venice.
• Architecture, Renaissance — Italy — Venice.
• Art, Italian — Italy — Venice.
• Italy — Venice. fast (OCoLC)fst01204473

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Notes:

• Includes index.
• 75 illustrations.
• Introduction : Yellow jasper lips at the Met — 1. An afternoon in Florence — 2. A flood and a chimera — 3. Immersed in the Bargello — 4. A sense of place — 5. The case of the Duccio Madonna — 6. In the Met Café — 7. Princely collections — 8. An artistic Education sentimentale — 9. Lost in the Louvre — 10. Crowds and the power of art — 11. Heaven and hell in the Prado — 12. Hieronymus Bosch and the hell of looking at art with other people — 13. Titian and Velázquez — 14. Las Meninas — 15. Goya : an excursion — 16. Rubens, Tiepolo, Goya again — 17. Rotterdam : museums and their discontents — 18. Star-spotting at the Mauritshuis — 19. Where do you put it? — Exploring the rainforests of Paris — 21. Hunting lions at the British Museum — 22. Lunch in the Great Court — 23. Fragments.
• Transcribed conversations between a former longtime director of the Metropolitan Museum of Art and an art critic, recording their reactions to works of art at museums in six countries over a period of two years.
• Beginning with a fragment of yellow jasper–all that is left of the face of an Egyptian woman who lived 3,500 years ago, more enigmatic than the Mona Lisa–this book confronts the elusive questions: how, and why, do we look at art? The authors talked in art galleries, churches and museums around the world, and their book is structured around their journeys. But whether they were in the Louvre or the Prado, the Mauritshuis or the Palazzo Pitti, they reveal the pleasures of truly looking at works of art–as well as some of the pitfalls. This is neither a work of art history nor of art criticism–though it touches on aspects of both. Nor is it a conventional travel book, though to write it the authors met on two continents and in six countries. Always their destination was some outstanding collection or individual work of art, and the resulting discussion started from what they saw. The result is highly unusual and very personal: a book about what it feels like to experience pictures and sculptures. Both men convey, with subtlety and brilliance, the delights and significance of their subject matter–some of the greatest creations of human beings through our long history.

Subjects:

• De Montebello, Philippe — Interviews.
• Art appreciation.
• Art — History.
• De Montebello, Philippe. fast (OCoLC)fst01442658
• History. fast (OCoLC)fst01411628
• Interviews. fast (OCoLC)fst01423832

Requested by Bloomberg, M.

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Notes:

• Art scams are today so numerous that the specter of a lawsuit arising from a mistaken attribution has scared a number of experts away from the business of authentication, and with good reason. Art scams are increasingly convincing and involve incredible sums of money. The cons perpetrated by unscrupulous art dealers and their accomplices are proportionately elaborate. The Art of the Con tells the stories of some of history’s most notorious yet untold cons. They involve stolen art hidden for decades elaborate ruses that involve the Nazis and allegedly plundered art the theft of a conceptual prototype from a well-known artist by his assistant to be used later to create copies the use of online and television auction sites to scam buyers out of millions and other confidence scams incredible not only for their boldness but more so because they actually worked. Using interviews and newly released court documents, The Art of the Con will also take the reader into the investigations that led to the capture of the con men, who oftentimes return back to the world of crime. For some, it’s an irresistible urge because their innocent dupes all share something in common: they want to believe — Provided by publisher.
• Includes bibliographical references (page 257) and index.
• The forger — The broker — The art Ponzi scheme — The trusting artist — The inheritor — The captor — The double dealer — The bait and switch — The printmaker — The telescam — The Internet.

Subjects:

• Art — Forgeries.
• Art thefts.

Requested by Kurpiers, R.