 The most famous and popular book on art ever published, this quintessential introduction to art has been a worldwide bestseller for over four decades. In this completely redesigned 16th edition, Gombrich, a true master, combines knowledge and wisdom with a unique gift for communicating his deep love of the subject. |
|
|
The Art Book For Children |
 Can dressing up be art? How do you paint feelings? Can you paint a noise? Designed for both adult and child to enjoy together, the book encourages children to learn to look, and to imagine why artists choose to create art in the way that they do. An offspring of the most-recognizable The Art Book, The Art Book for Children is an A-Z guide to the most engaging artists and one of their most famous works of art. From Leonardo's iconic Mona Lisa to Andy Warhol's equally iconic Marilyn and from Jeff Koons' exuberant, flower-encrusted Puppy to Grant Wood's severe American Gothic, thirty works appearing in the original The Art Book have been selected for The Art Book for Children for their significance in art history as well as their appeal to children. |
|
 Ten years after her death, Princess Diana remains a mystery. Was she "the people's princess," who electrified the world with her beauty and humanitarian missions? Or was she a manipulative, media-savvy neurotic who nearly brought down the monarchy? The historical personages that intrigue us most are those who embody intense contradictions. No celebrity matches that specification better than Diana Spencer (1961-97), the late Princess of Wales. In The Diana Chronicles, former Vanity Fair editor-in-chief Tina Brown uses her formidable connections to establish who Diana really was and how she became that way. |
|
 On Chesil Beach consists of a single scene, one played, because of the novel’s brevity and accessibility, in something like “real time.” Edward and Florence have retreated, on their wedding night, to a hotel suite overlooking Chesil Beach. Edward wants sex, Florence is sure she doesn’t. The situation is miniature and enormous, dire and pathetic, tender and irrevocable. McEwan treats it with a boundless sympathy, one that enlists the reader even as it disguises the fact that this seeming novel of manners is as fundamentally a horror novel as any McEwan’s written, one that carries with it a David Cronenberg sensitivity to what McEwan calls “the secret affair between disgust and joy.” |
|
|
<< Start < Prev 41 42 43 44 45 46 47 48 Next > End >>
|
