This book is filled with rare images showing Frank Lloyd Wright the photographer as well as Wright the tourist, the architect, and the collector.

This fascinating study reveals the lesser-known side of this famed architect as an important & avid collector of Japanese art, & the role it played in his life & his architecture. Accompanies an exhibition at the Japan Society, New York.

Photography in Japan 1853-1912 is a fascinating visual record of Japanese culture during its metamorphosis from a feudal society to a modern, industrial nation at a time when the art of photography was still in its infancy. The 350 rare and antique photos in this book, most of them published here for the first time, chronicle the introduction of photography in Japan and early Japanese photography. The images are more than just a history of photography in Japan; they are vital in helping to understand the dramatic changes that occurred in Japan during the mid-nineteenth century. These rare Japanese photographs--whether sensational or everyday, intimate or panoramic--document a nation about to abandon its traditional ways and enter the modern era. Taken between 1853 and 1912 by the most important Japanese and foreign photographers working in Japan, this is the first book to document the history of early photography in Japan a comprehensive and systematic way.

The demonstrations capture interest, teach, inform, fascinate, amaze, and perhaps, most importantly, involve students in chemistry. Nowhere else will you find books that answer, "How come it happens? . . . Is it safe? . . . What do I do with all the stuff when the demo is over?" Shakhashiri and his collaborators offer 282 chemical demonstrations arranged in 11 chapters. Each demonstration includes seven sections: a brief summary, a materials list, a step-by-step account of procedures to be used, an explanation of the hazards involved, information on how to store or dispose of the chemicals used, a discussion of the phenomena displayed and principles illustrated by the demonstration, and a list of references. You'll find safety emphasized throughout the book in each demonstration.

Book Description: Frank Lloyd Wright's mammoth contribution to architecture is universally acknowledged, but his graphic work has been largely overlooked in the existing literature about this seminal architect. His designs for typography, books, posters, murals, and magazines have remained relatively obscure, even though they are key components of his oeuvre. Penny Fowler has thoroughly investigated the artist's innovative graphic work and placed it within the context of various aesthetic movements, from Arts and Crafts to Bauhaus and De Stijl. Wright's publications - including The House Beautiful and An Autobiography - his delineations for the Wasmuth Portfolio, and his mural designs for Midway Gardens and the Imperial Hotel are explored, and one chapter is devoted to the festive covers Wright created for Liberty magazine. (Wright's designs were considered far too radical from the current trends, so Liberty turned them down.) Now this important part of the artist's work has been succinctly reviewed and amply illustrated. The ten chapters - carefully annotated with endnotes - explore Wright's foray into the world of graphic design, including book design; his influence by international sources; and his visits to Japan and Europe. Exhibitions and publications are included in the last chapter. Frank Lloyd Wright: Graphic Artist suggests that the man's genius simply knew no bounds.

The story of Frank Lloyd Wright’s life is no less astounding than his greatest architectural works. He enmeshed himself eagerly in myth and hearsay, and revelled in the extravagance of his creative persona. Throughout his long career, Wright strongly resisted the suggestion that his accomplishments owed anything to earthly influences. As much as he wanted his achievements to be recognised, he wanted them to be unaccountable – but they are not. This book reveals for the first time how his unbreakable self-belief and startling creative defiance both originated in the liberal religious and philosophical attitudes woven into his personality during his childhood – deliberately so by his mother and by his many aunts and uncles, to honour the fierce Welsh radicalism of their ancestors.

New definition to the little-known work Wright produced during this period, which he describes as Wright's primitivist phase. He traces this influence in his art through Wright's explorations of primitivist sources, innovations in sculpture, and an intensification of the architect's use of ornament. Less tangible, but as important, was Wright's view of himself, his art, and society, and Alofsin uncovers the European impact on the architect's image of himself as a.