For centuries artists have been pushing the limits of society's norms, whether in the form of a new technique, subject matter, or message. In the 15th century, a fresco by Masaccio shocked audiences by playing with perspective to depict Adam and Eve's expulsion from Eden. Some 500 years later, Diego Rivera featured Lenin at the centre of Man at the Crossroads, commissioned by John D. Rockefeller Jr. for the lobby of New York's soon-to-be-completed Rockefeller Center; the mural was destroyed when it was deemed too radical to display. This fascinating volume presents dozens of paintings, prints, photographs, and installations that horrified audiences when they were created. Each example is presented in generous spreads with large colour reproductions and an insightful text exploring the artist's intentions and the piece's historical context. Most of these works no longer have the power to shock us, but a number of them still do. Together they offer a thought provoking exploration of the artist's duty to instigate, inspire, and move audiences toward new ways of thinking. AUTHOR: Elea Baucheron is an art historian who works as a researcher and writer in Paris. Diane Routex is a writer and publisher based in Paris. SELLING POINTS: Spanning the Renaissance to the 21st century, this riveting collection of scandalous works shows how the notion of "shocking" art has evolved and explores why and how artists continue to push the public's visual buttons. 100 colour illustrations

"It’s an in-depth look at varied time periods and artists, which readers interested in gossip, drama, or art history will enjoy." Library Journal, Starred Review Scandal, shock and rivalry all have negative connotations, don’t they? They can be catastrophic to businesses and individual careers. A whiff of scandal can turn a politician into a smoking ruin. But these potentially disastrous “negatives” can and have spurred the world of fine art to new heights. A look at the history of art tells us that rivalries have, in fact, not only benefited the course of art, from ancient times to the present, but have also helped shape our narrative of art, lending it a sense of drama that it might otherwise lack, and therefore drawing the interest of a public who might not be drawn to the objects alone. There would be no Sistine Chapel by Michelangelo had rival Raphael not tricked the pope into assigning him the commission, certain that Michelangelo, who had never before worked with frescoes, would botch the job and become a laughing stock. Scandal and shock have proven to be powerful weapons when harnessed and wielded willfully and well. That scandal is good for exposure has been so obviously the case that many artists have courted it intentionally, which we will define as shock: intentionally overturning expectations of the majority in a way that traditionalist find dismaying or upsetting, but which a certain minority avant-garde find exciting. From Damien Hirst presenting the public with a shark embalmed in formaldehyde and entombed in a glass case to Marcel Duchamp trying to convince the art community that a urinal is a great sculpture shock has been a key promotional tool. The Devil in the Gallery is a guided tour of the history of art through it scandals, rivalries, and shocking acts, each of which resulted in a positive step forward for art in general and, in most cases, for the careers of the artists in question. In addition to telling dozens of stories, lavishly illustrated in full color, of such dramatic moments and arguing how they not only affected the history of art but affected it for the better, we will also examine the proactive role of the recipients of these intentionally dramatic actions: The art historians, the critics and even you, the general public. The Devil likes to lurk in dark corners of the art world, morphing into many forms. Let us shed light upon him.

A “thrilling, well-researched” account of years of scandal at the prestigious Getty Museum (Ulrich Boser, author of The Gardner Heist). In recent years, several of America’s leading art museums have voluntarily given up their finest pieces of classical art to the governments of Italy and Greece. Why would they be moved to such unheard-of generosity? The answer lies at the Getty, one of the world’s richest and most troubled museums, and scandalous revelations that it had been buying looted antiquities for decades. Drawing on a trove of confidential museum records and candid interviews, these two journalists give us a fly-on-the-wall account of the inner workings of a world-class museum, and tell a story of outlandish characters and bad behavior that could come straight from the pages of a thriller. “In an authoritative account, two reporters who led a Los Angeles Times investigation reveal the details of the Getty Museum’s illicit purchases, from smugglers and fences, of looted Greek and Roman antiquities. . . . The authors offer an excellent recap of the museum’s misdeeds, brimming with tasty details of the scandal that motivated several of America’s leading art museums to voluntarily return to Italy and Greece some 100 classical antiquities worth more than half a billion dollars.” —Publishers Weekly, starred review “An astonishing and penetrating look into a veiled world where beauty and art are in constant competition with greed and hypocrisy. This engaging book will cast a fresh light on many of those gleaming objects you see in art museums.” —Jonathan Harr, author of The Lost Painting

The youngest of four daughters, Primrose Ainsworth is used to getting lost in the shuffle. When her parents decide to delay her debut into English society, Prim hatches a plan to go rogue on the night of her sixteenth birthday. She dons a mask and escapes to Vauxhall Gardens for one wild night-- and finds a masked stranger who becomes her partner in mischief and romance. -- adapted from jacket

Unveiling the unconventional : Kehinde Wiley's portrait of Barack Obama / Taína Caragol -- "Radical empathy" : Amy Sherald's portrait of Michelle Obama / Dorothy Moss -- The Obama portraits, in art history and beyond / Richard J. Powell -- The Obama portraits and the National Portrait Gallery as a site of secular pilgrimage / Kim Sajet -- The presentation of the Obama portraits : a transcript of the unveiling ceremony.

Many have told of the East India Company’s extraordinary excesses in eighteenth-century India, of the plunder that made its directors fabulously wealthy and able to buy British land and titles, but this is only a fraction of the story. When one of these men—Warren Hastings—was put on trial by Edmund Burke, it brought the Company’s exploits to the attention of the public. Through the trial and after, the British government transformed public understanding of the Company’s corrupt actions by creating an image of a vulnerable India that needed British assistance. Intrusive behavior was recast as a civilizing mission. In this fascinating, and devastating, account of the scandal that laid the foundation of the British Empire, Nicholas Dirks explains how this substitution of imperial authority for Company rule helped erase the dirty origins of empire and justify the British presence in India. The Scandal of Empire reveals that the conquests and exploitations of the East India Company were critical to England’s development in the eighteenth century and beyond. We see how mercantile trade was inextricably linked with imperial venture and scandalous excess and how these three things provided the ideological basis for far-flung British expansion. In this powerfully written and trenchant critique, Dirks shows how the empire projected its own scandalous behavior onto India itself. By returning to the moment when the scandal of empire became acceptable we gain a new understanding of the modern culture of the colonizer and the colonized and the manifold implications for Britain, India, and the world.

In the early 1790s Richard Randolph was accused of fathering a child by his sister-in-law, Nancy, and murdering the baby shortly after its birth. Rumors about the incident, which occurred during a visit to the plantation of close family friends, spread like wildfire. Randolph found himself on trial for the crime largely because of the public outrage fueled by these rumors. The rest of the household suffered too, and only Nancy, who later married the esteemed New York statesman Gouverneur Morris, would find any degree of happiness. A tale of family passion, betrayal, and deception, Scandal at Bizarre is a fascinating historical portrait of the social and political realities of a world long vanished.