“Why do artists love books?” This volume takes this tantalizingly simple question as a starting point to reveal centuries of symbiosis between the visual and literary arts. First looking at the development of printed books and the simultaneous emergence of the modern figure of the artist, The Art of Reading appraises works by the many great masters who took inspiration from the printed word. Authors Jamie Camplin and Maria Ranauro weave together an engaging cultural history that probes the ways in which books and paintings represent a key to understanding ourselves and the past. Paintings contain a world of information about religion, class, gender, and power, but they also reveal details of everyday life often lost in history texts. Such artworks show us not only how books have been valued over time but also how the practice of reading has evolved in Western society. Featuring over one hundred works by artists from across Europe and the United States and all painting genres, The Art of Reading explores the two-thousand-year story of the great painters and the preeminent information-providing, knowledge-endowing, solace-giving, belief-supporting, leisure-enriching, pleasure-delivering medium of all time: the book.

This anonymous manuscript play has long been the subject of scholarly dispute regarding its relationship with Shakespeare's Richard II. This edition, which thoroughly re-examines the text, situates the play within its historical and political context, relating it to the genre of chronicle drama to which it belongs. The manuscript is of particular interest in that it appears to have been used in the playhouse over a considerable period of time and contains what seems to be evidence of the theatre practice of the time. The play is also of special interest for its skilful and original handling of source material which may well have influenced Shakespeare's Richard II. The extensive appendices drawn from Holinshed, Grafton and Stow provide the reader with the opportunity to investigate the manner in which the dramatist has shaped the material. The editors argue for the play's stage-worthiness and dramatic complexity, suggesting that its range both of dramatic tone and social inclusiveness indicate the work of a dramatist of considerable skill and subtlety, equal or superior to the Shakespeare of the Henry VI plays.

Familiar narratives about the nature of English modernism, &"tradition,&" and &"periodization,&" together with the &"literary&" character of English art from the mid-nineteenth to the early twentieth centuries, are abandoned in this innovative and important book. In their stead, David Peters Corbett proposes a new way of looking at this painting from the Pre-Raphaelites to the Vorticists. Arguing that art history has been too reluctant to confront the fundamental question of how and what the consistency and application of paint signifies, Corbett investigates the work of English artists&—among them Rossetti, Burne-Jones, Leighton, Watts, Whistler, Sickert, and the modernists of 1914 &—through a historical examination of the meanings of the visual in English culture. By revealing that for many artists and thinkers the visual promised to deliver a more profound understanding of the world than language, the book offers a new reading of the art of the period between 1848 and the First World War.

In 1948 Andrew Wyeth produced what would become one of the most iconic paintings in American art: a desolate landscape featuring a woman lying in a field, that he called "Christina's World." The woman in the painting, Christina Olson, lived in Cushing, Maine, where Wyeth and his wife kept a summer house. She suffered from polio, and was paralyzed from the waist down; Wyeth was moved to portray her when he saw her one day crawling through the field towards her house. "Christina's World" was to become one of the most well-loved and most scorned works of the twentieth century, igniting heated arguments about parochialism, sentimentality, kitsch and elitism that have continued to dog the art world and Wyeth's own reputation, even after the artist's death in 2009. An essay by MoMA curator Laura Hoptman revisits the genesis of the painting, discussing Wyeth's curious focus, over the course of his career, on a deliberately delimited range of subjects and exploring the mystery that continues to surround the enigmatic painting.

INSTANT NEW YORK TIMES BESTSELLER "A must-read for anyone who loves history and art.” --Kristin Hannah From the #1 New York Times bestselling author of the smash bestseller Orphan Train, a stunning and atmospheric novel of friendship, passion, and art, inspired by Andrew Wyeth’s mysterious and iconic painting Christina’s World. "Later he told me that he’d been afraid to show me the painting. He thought I wouldn’t like the way he portrayed me: dragging myself across the field, fingers clutching dirt, my legs twisted behind. The arid moonscape of wheatgrass and timothy. That dilapidated house in the distance, looming up like a secret that won’t stay hidden." To Christina Olson, the entire world was her family’s remote farm in the small coastal town of Cushing, Maine. Born in the home her family had lived in for generations, and increasingly incapacitated by illness, Christina seemed destined for a small life. Instead, for more than twenty years, she was host and inspiration for the artist Andrew Wyeth, and became the subject of one of the best known American paintings of the twentieth century. As she did in her beloved smash bestseller Orphan Train, Christina Baker Kline interweaves fact and fiction in a powerful novel that illuminates a little-known part of America’s history. Bringing into focus the flesh-and-blood woman behind the portrait, she vividly imagines the life of a woman with a complicated relationship to her family and her past, and a special bond with one of our greatest modern artists. Told in evocative and lucid prose, A Piece of the World is a story about the burdens and blessings of family history, and how artist and muse can come together to forge a new and timeless legacy.

Artist and founder of The Painting School Sara Woster invites readers into the vibrant world of painting as a creative practice powerful enough to transform our lives. Sara Woster is a painter, teacher, and art evangelist. She believes in art as a form of mindfulness, a ritual for healing, and an outlet for self-expression. In Painting Can Save Your Life, Woster welcomes readers into this transformative art form, inviting them to pick up a brush and discover how painting can help you see the world in a whole new way. Weaving soup-to-nuts instruction on how to paint—from choosing the right materials to painting the human body—with her own story of discovering a passion for painting, this book includes: simple and easy techniques for painters of all skill levels playful and challenging painting exercises tips on how to build a creative community using art insights on how to use painting to cultivate a sense of calm in a stressful world Part how-to-paint, part sheer inspiration, Painting Can Save Your Life is a wise and inspiring guide to the power of painting.

This is an art book which highlights the possibility of using natural, organic materials as art supplies and inspiration.