Bring a smile to every face when you create projects where elves and faeries play.

This is a philosophical exploration of the role of art and religion as sources of meaning in an increasingly material world dominated by science. Relating themes in the history of European philosophy to topics in contemporary philosophy, Gordon Graham investigates the idea that art has the potential to re-enchant an irreligious world.

Claude Monet's water lily paintings are among the most iconic and beloved works of art of the past century. Yet these entrancing images were created at a time of terrible private turmoil and sadness for the artist. The dramatic history behind these paintings is little known; Ross King's Mad Enchantment tells the full story for the first time and, in the process, presents a compelling and original portrait of one of our most popular and cherished artists. By the outbreak of war in 1914, Monet, then in his mid-seventies, was one of the world's most famous and successful painters, with a large house in the country, a fleet of automobiles and a colossal reputation. However, he had virtually given up painting following the death of his wife Alice in 1911 and the onset of blindness a year later. Nonetheless, it was during this period of sorrow, ill health and creative uncertainty that – as the guns roared on the Western Front – he began the most demanding and innovative paintings he had ever attempted. Encouraged by close friends such as Georges Clemenceau, France's dauntless prime minister, Monet would work on these magnificent paintings throughout the war years and then for the rest of his life. So obsessed with his monumental task that the village barber was summoned to clip his hair as he worked beside his pond, he covered hundreds of yards of canvas with shimmering layers of pigment. As his ambitions expanded with his paintings, he began planning what he intended to be his legacy to the world: the 'Musée Claude Monet' in the Orangerie in Paris. Drawing on letters and memoirs and focusing on this remarkable period in the artist's life, Mad Enchantment gives an intimate portrayal of Claude Monet in all his tumultuous complexity, and firmly places his water lily paintings among the greatest achievements in the history of art.

“An extraordinary work of intellectual history as well as a scholarly tour de force, a bracing polemic, and a work of Christian prophecy...McCarraher challenges more than 200 years of post-Enlightenment assumptions about the way we live and work.” —The Observer At least since Max Weber, capitalism has been understood as part of the “disenchantment” of the world, stripping material objects and social relations of their mystery and magic. In this magisterial work, Eugene McCarraher challenges this conventional view. Capitalism, he argues, is full of sacrament, whether one is prepared to acknowledge it or not. First flowering in the fields and factories of England and brought to America by Puritans and evangelicals, whose doctrine made ample room for industry and profit, capitalism has become so thoroughly enmeshed in the fabric of our society that our faith in “the market” has become sacrosanct. Informed by cultural history and theology as well as management theory, The Enchantments of Mammon looks to nineteenth-century Romantics, whose vision of labor combined reason, creativity, and mutual aid, for salvation. In this impassioned challenge to some of our most firmly held assumptions, McCarraher argues that capitalism has hijacked our intrinsic longing for divinity—and urges us to break its hold on our souls. “A majestic achievement...It is a work of great moral and spiritual intelligence, and one that invites contemplation about things we can’t afford not to care about deeply.” —Commonweal “More brilliant, more capacious, and more entertaining, page by page, than his most ardent fans dared hope. The magnitude of his accomplishment—an account of American capitalism as a religion...will stun even skeptical readers.” —Christian Century

New Mexico, 1985. Brigid Long Night, a young half-Navajo painter, goes to work as an assistant for the elderly Georgia O’Keeffe. Haunted by the decision to give up her newborn daughter for adoption, Brigid struggles with the direction and inertia of her life. With O’Keeffe’s encouragement, Brigid develops a powerful style, incorporating language and wordplay as well as image in her portrayal of Native American life and her place in it. Atlanta, 1995. Nancy Diamond, an aspiring playwright, encounters Brigid’s work and begins to understand the hidden truths about her own life as the child born of an affair between her white mother and an African American artist. New York City, 2001. Sasha Hernandez enrolls at Columbia University to study filmmaking. She has only recently discovered that her mother, living in Manhattan, is a celebrated painter and sculptor whose work is installed in the sculpture garden at the World Trade Center. In Liza Wieland’s deeply moving novel, these interwoven stories show how art reveals the depth and complexity of human love, in all its betrayals and losses, beauty and redemption.

A skilled painter must stand up to the ancient power of the faerie courts--even as she falls in love with a faerie prince--in this gorgeous debut novel. 6 x 9.

This original collection features Parrish's works from 1897 through the 1920s and includes art from The Arabian Nights and The Knave of Hearts, plus magazine and advertising imagery.