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Tamara de Lempicka
An aura of mystery has surrounded Tamara de Lempicka since she was born, not in Warsaw in 1902, as she claimed, but according to official records in 1898 in Moscow. The beautiful and scandalous Tamara was the extravagant muse of Art Deco, an icon of the roaring twenties, and a successful painter of intensely sensual portraits that were powerfully sculptural with Cubist lines, embellished with sophisticated decorative elements. Cool colors, cramped spaces and stark contrasts between light and shade surround the unforgettable faces of rich, elegant, emancipated, and theatrical women fixed in their existential melancholy. The catalogue includes a careful selection of unforgettable paintings and...
The Ladies of Art
A visual celebration of Italian women artists defying prejudice and convention to achieve their creative visions This volume spotlights the art and lives of 34 Italian women artists of the 16th and 17th centuries, beginning with Artemisia Gentileschi--the first woman artist to question gender prejudices--and followed by Sofonisba Anguissola, Lavinia Fontana, Fede Galizia and Marietta Robusti, among others. Presenting more than 130 works, the volume champions the artistic mastery of the painters, tracing their formal accomplishments and progressive visions. The Ladies of Artalso chronicles the artists' extraordinary lives, accounting for the tremendous obstacles they faced in a world hostile to women's professional affirmation and recognition. Although these women varied considerably in style, they were united by their commitment--whether explicit or implicit--to challenging prejudices and dismantling restricting clichés through their chosen vehicle of expression.
Tamara de Lempicka
A landmark retrospective on the Art Deco painter exploring her intersectional identities Tamara de Lempicka (1894-1980), the "Baroness with a Brush," is often cast as one of Art Deco's most celebrated artists, though her work transcends categorization, incorporating elements of Cubism and Neoclassicism in a distinctive, sensuous blend of form and function. Lempicka's paintings, including a self-portrait as the driver of a sleek green Bugatti, often depict dazzling, self-assured women, exuding elegance and transgressive sexuality while combining the modern with the classical. This gorgeous survey presents the full arc of Lempicka's career in the context of her life and her evolving identity, ...
Severo Sarduy and the Neo-baroque Image of Thought in the Visual Arts
Severo Sarduy never enjoyed the same level of notoriety as did other Latin American writers. On the other hand, he never lacked for excellent critical interpretations of his work from critics like Roberto Gonz lez Echevarr -a, Ren (c) Prieto, Gustavo Guerrero, and other reputable scholars. Missing, however, from what is otherwise an impressive body of critical commentary, is a study of the importance of painting and architecture, first, to his theory, and second, to his creative work. In order to fill this lacuna in Sarduy studies, Rolando P (c)rez's book undertakes a critical approach to Sarduy's essays"Barroco, Escrito sobre un cuerpo, Barroco y neobarroco, and La simulaci 3n "from the stand point of art history. In short, no book on Sarduy until now has traced the multifaceted art historical background that informed the work of this challenging and exciting writer. It will be a book that many a critic of Sarduy and the Latin American baroque will consult in years to come.
Found Theology
How can theology respond to changing historical circumstances imaginatively and creatively? This book seeks to answer this question.
Fortuny
Uncovers the extraordinary breadth of designer Mariano Fortuny, including and beyond his fashion output, alongside the personal and political catalysts that inspired him Mariano Fortuny y Madrazo (1871-1949) was a polymath who experimented in a variety of media including electric lighting, stage design, photography, the development of pigments, and textile and garment design. Yet his vision as a painter, persistently attuned to light and color, shaped all his artistic endeavors. Fortuny: Time, Space, Light examines Fortuny's Venetian workspaces, clothing designs, stage lighting inventions, and paintings to find unifying themes of revivalism, memory, light, magic, and secrecy that run through...
Sapientia Astrologica: Astrology, Magic and Natural Knowledge, ca. 1250-1800
This book explores the changing perspective of astrology from the Middle Ages to the Early Modern Era. It introduces a framework for understanding both its former centrality and its later removal from legitimate knowledge and practice. The discussion reconstructs the changing roles of astrology in Western science, theology, and culture from 1250 to 1500. The author considers both the how and the why. He analyzes and integrates a broad range of sources. This analysis shows that the history of astrology—in particular, the story of the protracted criticism and ultimate removal of astrology from the realm of legitimate knowledge and practice—is crucial for fully understanding the transition ...
Posthumanism in Italian Literature and Film
As humans re-negotiate their boundaries with the nonhuman world of animals, inanimate entities and technological artefacts, new identities are formed and a new epistemological and ethical approach to reality is needed. Through twelve thought-provoking, scholarly essays, this volume analyzes works by a range of modern and contemporary Italian authors, from Giacomo Leopardi to Elena Ferrante, who have captured the shift from anthropocentrism and postmodernism to posthumanism. Indeed, this is the first academic volume investigating narrative configurations of posthuman identity in Italian literature and film.
Acta Conventus Neo-Latini Upsaliensis
Since 1971, the International Congress for Neo-Latin Studies has been organised every three years in various cities in Europe and North America. In August 2009, Uppsala in Sweden was the venue of the fourteenth Neo-Latin conference, held by the International Association for Neo-Latin Studies. The proceedings of the Uppsala conference have been collected in this volume under the motto Litteras et artes nobis traditas excolere Reception and Innovation. Ninety-nine individual and five plenary papers spanning the period from the Renaissance to the present offer a variety of themes covering a range of genres such as history, literature, philology, art history, and religion. The contributions will be of relevance not only for scholarly readers, but also for an interested non-professional audience.
Tamara de Lempicka
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