A breathtaking exploration of one of Twombly's largest paintings, the second version of his Treatise on the Veil One of the most important American postwar artists, Cy Twombly (1928-2011) engaged with mythological and poetic source material, setting him apart from other artists of his generation. In 1970, Twombly revisited his 1968 painting Treatise on the Veil and, in a short period of focused creativity, produced a painting--Treatise on the Veil (Second Version)--on a single, 33-foot canvas along with more than a dozen related drawings. This handsomely produced oversize book features three essays that examine these works in relation to Twombly's oeuvre, contemporaneous explorations of time, the Orpheus myth, and a musical composition that Twombly cited as an influence. Large images and details bring us in close to Twombly's magnificent meditation on time and space. Distributed for The Menil Collection

Meg and Sylvie Townsend manage the family bookshop and care for their father, Stephen, a veteran still suffering in mind and spirit from his time as a POW during the Civil War. But when the Great Fire sweeps through Chicago's business district, they lose much more than just their store. The sisters become separated from their father and make a harrowing escape from the flames with the help of Chicago Tribune reporter Nate Pierce. Once the smoke clears away, they reunite with Stephen, only to learn soon after that their family friend was murdered on the night of the fire. Even more shocking, Stephen is charged with the crime and committed to the Cook County Insane Asylum. Though homeless and suddenly unemployed, Meg must not only gather the pieces of her shattered life, but prove her father's innocence before the asylum truly drives him mad.

You are cordially invited. . . . Now see amateur detective Carnegie Kincaid, expert in all things matrimony and murder, in the Hallmark original movie Wedding Planner Mystery! When love is in the air, Carnegie Kincaid is not far behind. A wedding planner who works out of her Seattle houseboat, Carnegie makes magic—usually—with fractious families, brimming brides, and cantankerous caterers to give loving couples the wedding they’ve always wanted. So why is her dream job turning into a perfect nightmare? It started when Carnegie agreed to plan the wedding of one of Seattle’s most prominent families—who happen to be going through a high-stakes, headline-grabbing legal war. Before she can get her bride-to-be into just the right dress, a murder and a kidnapping plunge Carnegie into a mystery of extortion and violence. With a shadowy figure stalking her, a rich lawyer wooing her, and an annoying reporter pursuing her, Carnegie is putting all wedding plans on hold. In an explosion of sheer terror, she must hunt down a killer—till death do her part.

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.

In this book the author uses the truth that Jesus' ÒfleshÓ is synonymous with the ÒveilÓ of the temple; and through this truth, shows the people or events used by God to inaugurate the change from the previous age to this age and the change from this age to the age to come.

Object Lessons is a series of short, beautifully designed books about the hidden lives of ordinary things. The veil can be an instrument of feminist empowerment, and veiled anonymity can confer power to women. Starting from her own marriage ceremony at which she first wore a full veil, Rafia Zakaria examines how veils do more than they get credit for. Part memoir and part philosophical investigation, Veil questions that what is seen is always good and free, and that what is veiled can only signal servility and subterfuge. From personal encounters with the veil in France (where it is banned) to Iran (where it is compulsory), Zakaria shows how the garment's reputation as a pre-modern relic is fraught and up for grabs. The veil is an object in constant transformation, whose myriad meanings challenge the absolute truths of patriarchy. Object Lessons is published in partnership with an essay series in The Atlantic.