"Albrecht Durer (1471-1528) was in a sense the first truly international artist. The collection of his work in the British Museum is one of the best in the world. This book shows how his sophisticated development of the techniques of woodcut and engraving introduced the idea of multiple images into fine art and thereby altered the history of printmaking. The chronology of his career is traced from his early work in the medieval tradition of Martin Schongauer, through the experience he acquired while living in Italy, to his major print projects for the Holy Roman Emperor, Maximilian I." "The book also examines Durer's influence at later periods, from the obsessive interest in his work by collectors and artists during the late sixteenth century to the virtually iconic status he acquired amid the rise of German nationalism during the nineteenth century. The Nobel-winning German novelist Gunter Grass, himself a printmaker, contributes a subjective view of Durer's images from a twentieth-century standpoint, while other introductory essays by Guilia Bartrum, Joseph Koerner and Ute Kuhlemann consider aspects of Durer's legacy through history. The illustrations include all Durer's best-known prints as well as numerous drawings and watercolours."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

Third in direct descent from Bibliographic Description of Rare Books (BDRB) -- from preface.

This richly illustrated book provides an unsurpassed overview of Islamic art and architecture from the seventh to the thirteenth centuries, a time of the formation of a new artistic culture and its first, medieval, flowering in the vast area from the Atlantic to India. Inspired by Ettinghausen and Grabar’s original text, this book has been completely rewritten and updated to take into account recent information and methodological advances. The volume focuses special attention on the development of numerous regional centers of art in Spain, North Africa, Egypt, Syria, Anatolia, Iraq, and Yemen, as well as the western and northeastern provinces of Iran. It traces the cultural and artistic evolution of such centers in the seminal early Islamic period and examines the wealth of different ways of creating a beautiful environment. The book approaches the arts with new classifications of architecture and architectural decoration, the art of the object, and the art of the book. With many new illustrations, often in color, this volume broadens the picture of Islamic artistic production and discusses objects in a wide range of media, including textiles, ceramics, metal, and wood. The book incorporates extensive accounts of the cultural contexts of the arts and defines the originality of each period. A final chapter explores the impact of Islamic art on the creativity of non-Muslims within the Islamic realm and in areas surrounding the Muslim world.

These studies represent the major contributions to the history of Islamic technology during the second half of the 20th century beside Donald Hill’s separate publications on the mechanical devices of Pseudo-Apollonios, the Banu Musa and al-Jazari. A gifted linguist who was trained as a historian of Islamic civilisation, and also a professional engineer, Hill achieved his goal of setting his subject on a solid basis. The papers reprinted here include his early studies of the trebuchet and the camel and horse, several overviews of different aspects of Islamic technology, articles on specific topics such as the Cairo Nilometer and al-Biruni’s geared luni-solar device, and the first notice of an extremely important Andalusian treatise on mechanical devices discovered in 1975.

Contains complete text of the Anglo-American Cataloging Rules, 2d ed., 1998 rev., including all amendments, all appendices, a fully searchable table of contents and index, a tutorial, and Folio Views Infobase.