Many important editorial changes enhance the '2016 Scott specialized catalogue of United States stamps and covers'.

This book explores how states in political transition use stamps to promote a new visual nationalism. Stamps as products of the state and provide small pieces of information about a state’s heritage, culture, economies and place in the world. These depictions change over time, reflecting political and cultural changes and developments. The volume explores the transition times in more than a dozen countries from Africa, Latin America, Asia and Europe. Specifically addressed are the stamp topics, issues and themes in the years before and after such major changes occurred, for example, from a European colony to political independence or from a dictatorship to democracy. The authors compare the personalities, histories, and cultural representations "before" the transition period and how the state used the "after" event to define or redefine its place on the world political map. The final three chapters consider international themes on many stamp issues, one being stamps with Disney cartoon characters, another on "themeless" Forever stamps, and the third on states celebrating women and their accomplishments. This volume has wide interdisciplinary relevance and should prove of particular interest to those studying geopolitics, political transition, visual nationalism, soft power and visual representations of decolonializing.

Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.

Includes report of the director of fine arts, of the director of the Museum, and of the director of the Technical schools.