An alienated young man searches for his life's purpose through a gallery of portraits at an exhibition. Afraid he may have contracted HIV the night before during a risky sexual encounter and only beginning to fathom the possible consequences, Robin winds his way through the rooms, studying the portraits of people from faraway places and times, looking for clues in the lives of others to the mystery of his own discontent. Several masterpieces of portrait painting, reproduced in the novel, become the focal-points of Robin's physical and spiritual journey; ranging from the Renaissance to the turn of the 21st century, they include works by such famous artists as Sandro Botticelli, Diego Velazquez, and John Singer Sargent. Each portrait opens like a time capsule to Robin's gaze, releasing stories about the sitters, artists, and critics who, over the centuries, have turned their everyday struggles, disappointments, and dreams into transcendent works of art. In the gallery, Robins bumps into a flesh-and-blood stranger--an HIV-positive psychotherapist and former monk--with whom he feels an uncanny rapport. Their meeting could change his life, but first he will have to confront a disturbing truth about himself. Steeped in art history and rich in psychological intrigue, Portraits at an Exhibition plunges the reader directly into the mind of Robin, seeing as he sees, reading what he reads, and learning, along with him, the often unsettling life lessons that only the closest observation of great art can teach.

A sweeping and sensuous novel of a son’s quest to recover his family’s lost masterpieces, looted by the Nazis during the occupation. Max Berenzon’s father is the most successful art dealer in Paris, owner of the Berenzon Gallery, home to both Picasso and Matisse. To Max’s great surprise, his father forbids him from entering the family business, choosing instead to hire a beautiful and brilliant gallery assistant named Rose Clément. When Paris falls to the Nazis, the Berenzons survive in hiding, but when they return in 1944 their gallery is empty, their priceless collection vanished. In a city darkened by corruption and black martketers, Max chases his twin obsessions: the lost paintings and Rose Clément.

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.

Emsley describes chemicals which affect every aspect of our daily lives, including anecdotes about their proper or improper uses.

Egon Schiele was a meteor that flashed across the galaxy of Viennese art at the beginning of the last century. Although he lived only twenty-eight years-dying quite suddenly of influenza in 1918 just as World War I came to an end-he left a stunning pictorial oeuvre. Schiele's obsession with sexuality, his own and that of others, made him at once a voyeur and a participant in that sexual imperative which Freud was simultaneously plumbing with such unsettling results. The disturbing revelations of Schiele's unmasking portraiture and of the new science of psychology disclosed a collective cultural anxiety during the last years of the crumbling Austrian empire. As a seer into the souls of his sitters, Schiele redefined portraiture in the age of Angst. Alessandra Comini is University Distinguished Professor of Art History Emerita at Southern Methodist University, where she taught for thirty-one years after having served on the faculty at Columbia University for ten years. She is the author of eight books, one of which, "Egon Schiele's Portraits," was nominated for the National Book Award. The Republic of Austria extended her its Grand Decoration of Honor in 1990. This is her third book on the artist; she has also published "Schiele in Prison," an extended essay and English translation of the 1912, makeshift diary Schiele kept during his twenty-four days in a provincial prison cell-a forgotten cell which she discovered and photographed in 1963. The cell is now part of a Schiele Museum in the village of Neulengbach. Her 2014 Megan Crespi mystery novel, "Killing for Klimt," is followed by "The Schiele Slaughters."

"First published on the occasion of the exhibition 'David Hockney RA: 82 portraits and 1 still-life', Royal Academy of Arts, London, 2 July-2 October 2016"--Title page verso.

The first comprehensive study of the diverse role and impact of photography at the 1851 Great Exhibition in London, drawing together two decades of research to create a broader understanding of the step-change in image making and distribution represented by The Great Exhibition of the Works of Industry of All Nations - the genesis of the Victoria and Albert Museum, London.0While the Great Exhibition has received a variety of examinations, its role in exhibiting and furthering the cause and exploitation of photography and its impact on illustration has been largely underappreciated. More broadly, 1851 saw a massive change in information management: in the creation and dissemination of visually based graphic information characterized by images of the building, its contents and their display that collectively constituted the Great Exhibition. Photography played a critical role in this quantum leap.00Exhibition: V&A Photography Centre, London, UK (October 2018).