Published on the occasion of the exhibition "Picasso: Themes and Variations" held at the Museum of Modern Art, New York, N.Y., Mar. 24-Sept. 6, 2010.

Picasso may have the most uncanny line since Botticelli. Each medium or style he chose to master, no matter how solid or sculptural, can be seen as line disguised, metamorphic; as the labyrinth to which a single thread is the key. Theoretically, line is infinite; Picasso in his fertility nearly realized that theory in almost a century of ceaseless drawing, whether on paper, zinc, stone, or other media. Here is a sampling, rather than a comprehensive selection, from that plenitude; while nothing could be comprehensive within a single volume, the genius of Picasso's line manifests itself so clearly that this culling from various periods reveals the line in most of its guises. Beginning with a 1905 circus family in drypoint, 44 drawings cover Picasso's major themes, techniques, and styles. From the almost classic Ingresque clarity of the Diaghilev and Stravinsky portraits (1919, 1920) via cubist studies and "neo-classical" nudes, Picasso's restless hand remakes his world again and again with fresh energy, culminating here in six sketches of the artist/model dashed out in raging love/hate in the midst of personal crisis (1953–54). In between are times of serenity and introspection (Seven Dancers (1919), with the future Olga Picasso up front; many figures and bathers) and, particularity as book illustrations, many mythological studies; Eurydice Stung by a Serpent (1930 etching), Dying Minotaur in the Arena (1933), an etching for a 1934 edition of Lysistrata. Balzac is represented by a striking lithographic portrait (1952) and by etching for Vollard's edition of Le Chef-d'oeuvre inconnu. The sudden appearance of an earthy, hirsute Rembrandt (1934) seems to confirm Picasso's membership in the select group of art history's greatest draughtsmen.

From the renowned neurologist and bestselling author of Awakenings and The Man Who Mistook His Wife for a Hat comes a fascinating investigation of the many manifestations of migraine, including the visual hallucinations and distortions of space, time, and body image which migraineurs can experience. “So erudite, so gracefully written, that even those people fortunate enough never to have had a migraine in their lives should find it equally compelling.” —The New York Times The many manifestations of migraine can vary dramatically from one patient to another, even within the same patient at different times. Among the most compelling and perplexing of these symptoms are the strange visual hallucinations and distortions of space, time, and body image which migraineurs sometimes experience. Portrayals of these uncanny states have found their way into many works of art, from the heavenly visions of Hildegard von Bingen to Alice in Wonderland. Dr. Oliver Sacks argues that migraine cannot be understood simply as an illness, but must be viewed as a complex condition with a unique role to play in each individual's life.

Dr. Seuss's youngest concept book is now available in a sturdy board book for his youngest fans! All of the stunning illustrations and imaginative type designs of Steve Johnson and Lou Fancher are here, as are the intriguing die-cut squares in the cover. A brighter, more playful cover design makes this board book edition all the more appropriate as a color concept book to use with babies or a feelings and moods book to discuss with toddlers.

One hundred years later, this book evokes Picasso_s journey to Rome and Naples with Jean Cocteau, Igor Stravinsky and the company of Sergei Djagilev_s Ballet Russes . lt was during this trip that he met and fell in love with the company_s leading dancer, Olga Khokhlova, who would become his first wife. In addition to the few extraordinary weeks spent in ltaly, which were pivotal in the development of Picasso_s art during the post-war years, the monograph also examines his production immediately after this ltalian experience, with particular reference to the ballets Parade and Pulcinella , as well as those paintings indebted to the iconographic and cultural world that these two works had introduced him to. The book focuses on Picasso_s ability to experiment in different genres, from still-life to portraiture, from the playful and decorative collages executed during the Great War, to the sophisticated realism of the years of his association with Djagilev. It also documents the long-term impact of his ltalian journey on Picasso_s art, which necessarily involves the study of some of the works of Classical inspiration executed in later years. With over 100 works including iconic paintings, drawings and photographs, the book shows masterpieces and key works of this period of Picasso_s production (1915-1925), with the aim of pointing out hidden links, temporary resurfocings or originai pre existence of Classical elements throughout the artist_s career.

Henry Cooper and his dog Pomegranate have two houses. On Mondays, Wednesdays, and every other weekend, they live with Mama in her new apartment, but on Tuesdays, Thursdays, and every other weekend, they live with Papa in his new house. Henry and Pomegranate are happy as they dance with Mama and sing with Papa, but Henry knows that sometimes Pomegranate gets confused and just wants to go . . . home. This gentle and accessible story about dealing with the many changes that come with divorce is beautifully brought to life by author Karen Stanton's vivid and memorable illustrations.