To some, Terry Smith is an iconoclast determined to turn the
contemporary art discourse on its head. To others, he’s simply saying
what many are already thinking.
If you were a First World War general poring over aerial photographs of enemy lines, how would you tell the difference between a genuine bomb crater and an artificially created one? The answer is that the artificially created bomb crater would be just a little bit too perfectly round, and would show no traces of an actual explosion. This is one of many questions answered in the fascinating book, The Great War Seen from the Air In Flanders Fields, 1914–1918.
With the current crop of movies based on comic books practically owning the box office, and the wild popularity of comic conventions around the world, there has perhaps never been a better time to produce a book that looks at the growth, style, history and impact of comic books as an art form.
Meet the Plumets: César and Vespasie, not forgetting Azor the dog. Newly retired from the haberdashery business in Paris, they are all fired up about a holiday in the Alps. Well, César is all fired up; his wife not so much. Gustave Doré's hilarious 1851 comic strip of their adventures — and, more often, misadventures — continues to entertain in the 2013 reprint, Doré: Des-agréments d’un voyage d’agrément.
What is a masterpiece? Art historians and critics don’t always agree on the precise definition, but it generally has something to do with originality, enduring appeal and talent. Those are the characteristics of the sixteen art history books and their authors, selected by editors Richard Shone and John-Paul Stonard for their enlightening and beautifully produced anthology, The Books that Shaped Art History.
The Monuments Men, a Sony Pictures film directed by George Clooney, is based on the 2009 book by Robert M. Edsel, titled The Monuments Men: Allied Heroes, Nazi Thieves, and the Greatest Treasure Hunt in History. It is a story with many ironies.
“Un roman sans illustration est comme une maison sans fenêtres” [”A novel without illustrations is like a house without windows”] proclaimed the blurb on the “roman canadien” series published by Édouard Garand in Montreal in the 1920s. Édouard Garand’s publishing house is a partial answer to this question posed by a new book from art historian Stéphanie Danaux: what was different about book illustration in Quebec between 1840 and 1940, when compared to that of English Canada?
After securing widespread praise for its 2011 book, The Art Museum—a collection of some 2,500 works of art from 650 institutions around the world—Phaidon has followed up that success with Art & Place: Site-specific Art of the Americas.
Share this page