Includes the proceedings of the Society.

A comprehensive look at an important member of the artistic vanguard of late 19th- and early 20th-century Europe In this beautifully illustrated book, Michel Draguet, an internationally recognized authority on fin-de-siècle art, offers an enlightening examination of the life and art of Belgian Symbolist painter Fernand Khnopff (1858-1921). Khnopff achieved widespread acclaim during his lifetime for his moody, dreamlike paintings, as well as his numerous commissioned portraits, designs for costumes and sets for the theater and opera, photography, sculpture, book illustrations, and writings. Khnopff was a reclusive personality, and in 1900 he focused his attention on the design and construction of a lavish, secluded home and studio in Brussels, a structure that became deeply entwined with the artist's work and sense of self. Although the house was demolished in 1936, Draguet uses new archival research to reconstruct its spaces and explore the home as emblematic of the artist, guiding the reader through Khnopff's very personal world and analyzing his art in the context of its generative surroundings. Distributed for Mercatorfonds

Ubuntu and Buddhism in Higher Education theorizes the equal privileging of ontology and epistemology towards a balanced focus on ‘being-becoming’ and knowledge acquisition within the field of higher education. In response to the shift in higher education’s aims and purposes beginning in the latter half of the 20th century, this book reconsiders higher education and Western subjectivity through southern African (Ubuntu) and Eastern (Buddhist) onto-epistemologies. By mapping these other-than-West ontological viewpoints onto the discourse surrounding higher education, this volume presents a vision of colleges and universities as transformational institutions promoting our shared connection to the human and non-human world, and deepens our understanding of what it means to be a human being.

The papers in this volume derive from the proceedings of the nineteenth International Bronze Congress, held at the Getty Center and Villa in October 2015 in connection with the exhibition Power and Pathos: Bronze Sculpture of the Hellenistic World. The study of large-scale ancient bronzes has long focused on aspects of technology and production. Analytical work of materials, processes, and techniques has significantly enriched our understanding of the medium. Most recently, the restoration history of bronzes has established itself as a distinct area of investigation. How does this scholarship bear on the understanding of bronzes within the wider history of ancient art? How do these technical data relate to our ideas of styles and development? How has the material itself affected ancient and modern perceptions of form, value, and status of works of art? www.getty.edu/publications/artistryinbronze