Stolen masterpieces. Deadly narcotics. Artificial intelligence. A mysterious email and the arrest of a fugitive art thief send Doctor Genevieve Lenard and her team to Prague, where it soon becomes apparent that this theft has a close connection to a sadistic killer they've been tracking for almost a year. No sooner do they arrive than they find a scientist tortured and murdered by Shahab Hatami--the man they've been looking for. Joining forces with Prague's elite investigator and a controversial journalist, they start uncovering the trail of terror Shahab has left behind to discover he has only just started. With Shahab developing a weapon that could kill hundreds, if not thousands of innocent people, Genevieve has to push past her autistic mind's limitations to stop him. But when those she cares for most become his target and he threatens to exact his revenge on them, Genevieve has run out of time to investigate and has to act before it's too late.

Stolen masterpieces. Deadly narcotics. Artificial intelligence. A mysterious email and the arrest of a fugitive art thief send Doctor Genevieve Lenard and her team to Prague, where it soon becomes apparent that this theft has a close connection to a sadistic killer they've been tracking for almost a year. No sooner do they arrive than they find a scientist tortured and murdered by Shahab Hatami & mdash;the man they've been looking for. Joining forces with Prague's elite investigator and a controversial journalist, they start uncovering the trail of terror Shahab has left behind to discover he has only just started. With Shahab developing a weapon that could kill hundreds, if not thousands of innocent people, Genevieve has to push past her autistic mind's limitations to stop him. But when those she cares for most become his target and he threatens to exact his revenge on them, Genevieve has run out of time to investigate and has to act before it's too late.

A mysterious email and the arrest of a fugitive art thief send Doctor Genevieve Lenard and her team to Prague, where it soon becomes apparent that this theft has a close connection to a sadistic killer they've been tracking for almost a year.

Murdered artists. Masterful forgeries. Art crime at its worst. As an insurance investigator and world renowned expert in nonverbal communication, Dr Genevieve Lenard faces the daily challenge of living a successful, independent life. Particularly because she has to deal with her high functioning Autism. Nothing - not her studies, her high IQ or her astounding analytical skills - prepared her for the changes about to take place in her life. It started as a favour to help her boss' acerbic friend look into the murder of a young artist, but soon it proves to be far more complex. Forced out of her predictable routines, safe environment and limited social interaction, Genevieve is thrown into exploring the meaning of friendship, expanding her social definitions, and for the first time in her life be part of a team in a race to stop more artists from being murdered. The Gauguin Connection is an art crime novel with an autistic main character who explores the mystery of political intrigue, art heists, white collar crime, kidnapping and so much more! Enjoy this FREE book.

A dazzlingly original and ambitious book on the history of female self-portraiture by one of today's most well-respected art critics. Her story weaves in and out of time and place. She's Frida Kahlo, Loïs Mailou Jones and Amrita Sher-Gil en route to Mexico City, Paris or Bombay. She's Suzanne Valadon and Gwen John, craving city lights, the sea and solitude; she's Artemisia Gentileschi striding through the streets of Naples and Paula Modersohn-Becker in Worpswede. She's haunting museums in her paint-stained dress, scrutinising how El Greco or Titian or Van Dyck or Cézanne solved the problems that she too is facing. She's railing against her corsets, her chaperones, her husband and her brothers; she's hammering on doors, dreaming in her bedroom, working day and night in her studio. Despite the immense hurdles that have been placed in her way, she sits at her easel, picks up a mirror and paints a self-portrait because, as a subject, she is always available. Until the twentieth century, art history was, in the main, written by white men who tended to write about other white men. The idea that women in the West have always made art was rarely cited as a possibility. Yet they have - and, of course, continue to do so - often against tremendous odds, from laws and religion to the pressures of family and public disapproval. In The Mirror and the Palette, Jennifer Higgie introduces us to a cross-section of women artists who embody the fact that there is more than one way to understand our planet, more than one way to live in it and more than one way to make art about it. Spanning 500 years, biography and cultural history intertwine in a narrative packed with tales of rebellion, adventure, revolution, travel and tragedy enacted by women who turned their back on convention and lived lives of great resilience, creativity and bravery.

Emphasizing on the one hand the reconstruction of the material culture of specific residences, and on the other, the way in which particular domestic objects reflect, shape, and mediate family values and relationships within the home, this volume offers a distinct contribution to research on the early modern Italian domestic interior. Though the essays mainly take an art historical approach, the book is interdisciplinary in that it considers the social implications of domestic objects for family members of different genders, age, and rank, as well as for visitors to the home. By adopting a broad chronological framework that encompasses both Renaissance and Baroque Italy, and by expanding the regional scope beyond Florence and Venice to include domestic interiors from less studied centers such as Urbino, Ferrara, and Bologna, this collection offers genuinely new perspectives on the home in early modern Italy.

This is the first monograph in English published on the successful Bolognese seventeenth-century artist Elisabetta Sirani (1638-1665). Modesti presents Sirani as a 'subject of her own genre', underlining the painter's innovative qualities, not only in artistic terms, but also from a socio-political and historical perspective. The author's discussion of the material context of women's artistic production and of the Bolognese seventeenth-century cultural world evidences how Sirani epitomized a new model of 'femininity' and a new rising social genre: the single professional woman. Having been rightly admitted to an artistic, social, and cultural world historically dominated by men, Sirani was an unmarried woman who chose a productive and rewarding career over the traditional role of wife and mother. An 'ultramodern artist', deemed by her contemporaries to be extremely talented and inventive, Sirani affirmed her professional status within a mostly male world thanks to her extraordinary cultural learning and virtuoso artistic skills, as well as the clever management of her public image and success. Being a woman was not a hindrance to Sirani, but rather a positive element: by projecting her own image and identity onto the femme fortes of ancient history, and by inviting important guests to her studio so as to observe her painting, she organized her own 'public exhibition', thus becoming both the subject and the object of her own art. Modesti underscores Sirani's momentous role in the professionalization of Italian women's cultural production and artistic practice at the beginning of the modern era and highlights Sirani's role as an example for successive generations of professional women artists.