Rendez-Vous presents sojourns into the living and working spaces of celebrated artists and creatives.

The fruits of a lifetime of experience by a cultural colossus, Philippe de Montebello, the longest-serving director of the Metropolitan Museum of Art in its history, distilled in conversations with an acclaimed critic Beginning with a fragment of yellow jasper—all that is left of the face of an Egyptian woman who lived 3,500 years ago—this book confronts the elusive questions: how, and why, do we look at art? Philippe de Montebello and Martin Gayford talked in art galleries or churches or their own homes, and this book is structured around their journeys. But whether they were in the Louvre or the Prado, the Mauritshuis of the Palazzo Pitti, they reveal the pleasures of truly looking. De Montebello shares the sense of excitement recorded by Goethe in his autobiography—"akin to the emotion experienced on entering a House of God"—but also reflects on why these secular temples might nevertheless be the "worst possible places to look at art." But in the end both men convey, with subtlety and brilliance, the delights and significance of their subject matter and some of the intense creations of human beings throughout our long history.

A charming guide for visitors to point and pronounce their way through France. Delightful color illustrations accompanied by easy pronunciations make traveling, shopping, dining, and everyday life among the French a breeze. As a preparation and learning tool, this guide familarizes readers visually with what to expect on their vacations. Travelers are put at ease, making them comfortable and in control on their experience. In addition, there are tips from the author which are simple, practical, and extremely useful.

Featuring a broad selection of paintings, sculptures and photographs coming mainly from the Centre Pompidou collections, Louvre Abu Dhabi’s exhibition catalogue “Rendezvous in Paris: Picasso, Chagall, Modigliani & Co.” focuses on this highly distinctive period in French art when young painters, sculptors and photographers flocked to early-20th-century Paris from all over the world to make a decisive contribution to the city’s art scene. Most notably from Germany, Spain, Italy, the Netherlands, Russia and even Japan, these formally inventive artists – Constantin Brancusi, Marc Chagall, Kees van Dongen, Tsuguharu Foujita, Amedeo Modigliani and Pablo Picasso among them – who would later become known as the “School of Paris”, rivalled the greatest French artists of the time.

"Tony Sandoval was born and raised in northwestern Mexico, where the temptation to cross the border in the US ultimately becomes a matter of the heart. Drawn by the need to reunited with his American girlfriend and faced with an insurmountable visa process standing in the way of their relationship, he makes the ultimate romantic gesture: smuggling himself across the border, despite the dangers he'll face from the blistering heat, vicious bandits, barbed wire, and -- most daunting of all -- the US border patrol. An autobiographical account by the three-time Eisner-nominated writer/artist, this true story shines reliable light on the hot-topic immigration issue in the news today."--Page 4 of cover.

When he stands before Giorgione's La Tempesta, Booker Prize-winning author John Berger sees not only the painting but our whole notion of time, sweeping us away from a lost Eden. A photograph of a gravely joyful crowd gathered on a Prague street in November 1989 provokes reflection on the meaning of democracy and the reunion of a people with long-banished hopes and dreams. With the luminous essays in Keeping a Rendezvous, we are given to see the world as Berger sees it -- to explore themes suggested by the work of Jackson Pollock or J. M. W. Turner, to contemplate the wonder of Paris. Rendezvous are manifold: between critic and art, artist and subject, subject and the unknown. But most significant are the rendezvous between author and reader, as we discover our perceptions informed by Berger's eloquence and courageous moral imagination.