'I found the photograph album by chance when we were clearing out the old coach house. It must have been sitting on the garage shelf for years among all the other family rejects.' When a woman finds a lost photo album in a garage clearout, she is drawn to the images of her ancestors. But one image in particular stands out: a baby sitting in the lap of its mother, both draped from head to toe in a cotton lace curtain or something, completely enveloped and unrecognizable. Who are they and what has happened to them? In a story that moves between 2012 and 1850, the shocking secrets of one family are gradually revealed…

The 21st century's first major academic reassessment of Impressionism, providing a new generation of scholars with a comprehensive view of critical conversations Presenting an expansive view of the study of Impressionism, this extraordinary volume breaks new thematic ground while also reconsidering established questions surrounding the definition, chronology, and membership of the Impressionist movement. In 34 original essays from established and emerging scholars, this collection considers a diverse range of developing topics and offers new critical approaches to the interpretation of Impressionist art. Focusing on the 1860s to 1890s, this Companion explores artists who are well-represented in Impressionist studies, including Monet, Renoir, Degas, and Cassatt, as well as Morisot, Caillebotte, Bazille, and other significant yet lesser-known artists. The essays cover a wide variety of methodologies in addressing such topics as Impressionism's global predominance at the turn of the 20th century, the relationship between Impressionism and the emergence of new media, the materials and techniques of the Impressionists, and the movement's exhibition and reception history. Part of the acclaimed Wiley Blackwell Companions to Art History series, this important new addition to scholarship in this field: Reevaluates the origins, chronology, and critical reception of French Impressionism Discusses Impressionism's account of modern identity in the contexts of race, nationality, gender, and sexuality Explores the global reach and influence of Impressionism in Europe, the Middle East, East Asia, North Africa, and the Americas Considers Impressionism's relationship to the emergence of film and photography in the 19th century Considers Impressionism's representation of the private sphere as compared to its depictions of public issues such as empire, finance, and environmental change Addresses the Impressionist market and clientele, period criticism, and exhibition displays from the late 19th century to the middle of the 20th century Features original essays by academics, curators, and conservators from around the world, including those from France, Germany, the United States, the United Kingdom, Japan, Turkey, and Argentina The Wiley Blackwell Companion to Impressionism is an invaluable text for students and academics studying Impressionism and late 19th century European art, Post-Impressionism, modern art, and modern French cultural history.

Muslim-American women, in all their diversity, are given the chance to tell their stories in their own voice by award-winning journalist Donna Gehrke-White. The only book of its kind, it tells in extraordinarily moving detail the lives of New Traditionalists, who wear the veil though their forebears did not; Blenders, who do not wear the veil but consider themselves spiritual; and Converts - women from other religious backgrounds who have converted to Islam. A rare, revealing look into the hearts, minds and lives of a misunderstood people.

At Valley House on Achill Island in 1894, an English landowner, Agnes MacDonnell, was brutally attacked and her home burnt. James Lynchehaun, her former land agent, was convicted and sentenced to life imprisonment. He escaped twice and won a groundbreaking case in the United States successfully resisting extradition. . A Franciscan monk in Achill, Brother Paul Carney, who had befriended and assisted Lynchehaun, wrote up the fugitive's story, and Lynchehaun became a folk hero. John Millington Synge visited Mayo in 1904/1905 and decided to locate The Playboy of the Western World in north Mayo. Lynchehaun was one of Synge's inspirations for constructing the character of Christy Mahon. The crime, the trial and escapes, and the island tensions are unravelled in a gripping account.

In 1920s Los Angeles, Letitia Hawking inhabits the veil between life and death. Using her scrying bowl to experience the final moments of the deceased, Letitia brings what little closure she can to her clients, allowing them to move on with their lives. Grief-stricken war widows and mourning families find peace when they visit Letitia. She knows no such peace. For Letitia, it's penance.For Alasdair Driscoll, Letitia's abilities offer the chance to save his beloved niece, Finola, from her nightmares and-as he fears-her growing insanity. But when Letitia sees a shadowy figure attached to the Driscoll family, old fears of her unspeakable past in England surface. She refuses to help him, despite his money and insistence. Instead, Letitia finds herself facing a father whose young daughter has been kidnapped-the third girl to have gone missing in as many months. Evading a determined Mr. Driscoll, a man used to getting his way, proves difficult. And as the darkness creeps in, Letitia makes the connection between the missing girls and Finola: the shadows haunting her visions. Letitia thought she could find refuge in a new, burgeoning city, far from her past. But she'll discover that unless she helps Mr. Driscoll rid his niece of her nightmares, the shadows will haunt Letitia-risking not only her newfound sanctuary but also her very sanity.

"William S. Paley, founder of CBS, Inc., and a towering figure in the development of entertainment and communications industries, was also a committed collector and patron of modern art. This book catalogues the highly personal collection of paintings, sculptures, prints and drawings, by such artists as [Paul] Cézanne, [Paul] Gauguin, [Henri] Matisse, [Pablo] Picasso, and others, that he bequeathed to the Museum of Modern Art. ..."--Back cover.

Greek women routinely wore the veil. That is the unexpected finding of this meticulous study, one with interesting implications for the origins of Western civilisation. The Greeks, popularly (and rightly) credited with the invention of civic openness, are revealed as also part of a more Eastern tradition of seclusion. Llewellyn-Jones' work proceeds from literary and, notably, from iconographic evidence. In sculpture and vase painting it demonstrates the presence of the veil, often covering the head, but also more unobtrusively folded back onto the shoulders. This discreet fashion not only gave a priviledged view of the face to the ancient art consumer, but also, incidentally, allowed the veil to escape the notice of traditional modern scholarship. From Greek literary sources, the author shows that full veiling of the head and face was commonplace. He analyses the elaborate Greek vocabulary for veiling and explores what the veil meant to achieve. He shows that the veil was a conscious extension of the house and was often referred to as `tegidion', literally `a little roof'. Veiling was thus an ingeneous compromise; it allowed women to circulate in public while mainting the ideal of a house-bound existence. Alert to the different types of veil used, the author uses Greek and more modern evidence (mostly from the Arab world) to show how women could exploit and subvert the veil as a means of eloquent, sometimes emotional, communication. First published in 2003 and reissued as a paperback in 2010, Llewellyn-Jones' book has established itself as a central - and inspiring - text for the study of ancient women.