The artist Thomas Hennell was one of three British Official War Artists to die during the Second World War. This is a full account of his life and times. Hennell was highly regarded as an artist and author, his main theme being the English countryside. He struggled with serious mental illness and was eventually diagnosed as schizophrenic. Hennell's paintings and drawings provide an insight into an era: they will appeal to those with a love of the countryside and farming, an interest in the Second World War, and admirers of the now very famous artists who were his friends and regarded him as an equal.

When John Rothenstein, Director of the Tate Gallery, published the third volume of his Modern English Painters in 1984, he subtitled it Hennell to Hockney. While--now as then--David Hockney needs no introduction, Thomas Hennell (1903-1945) has somehow slipped off the radar and undoubtedly deserves to be more widely recognized today. At the time of his death, Hennell was widely considered to be one of Britain's most significant watercolorists and notable cultural figures. He struggled with serious mental illness, was diagnosed as schizophrenic and spent the years from 1932 to 1935 in three different "mental hospitals", the Maudsley Hospital amongst them. Edward Bawden encouraged him to "center and compose" the experience of schizophrenia by writing about it, and Hennell's remarkable illustrated account, The Witnesses, was published in 1938. Eric Ravilious, too, helped Hennell with his recovery, providing a series of wood engravings as illustrations for The Poems of Thomas Hennell, published in 1936. At the outbreak of war in 1939 Hennell wrote to War Artists' Advisory Committee, offering his services as an artist. From 1943 he was a full-time salaried war artist. He served in Europe and the Far East and was in Java when he was captured by Indonesian nationalist fighters in November 1945. He was presumed to have been killed shortly after. Hennell's paintings and drawings provide an insight into an era: they will appeal to those with a love of the countryside and farming, an interest in the Second World War, and admirers of the now very famous artists who were his friends and regarded him as an equal.

From Jeff VanderMeer, the author of Borne and Annihilation, comes the paperback reissue of his cult classic City of Saints and Madmen. In this reinvention of the literature of the fantastic, you hold in your hands an invitation to a place unlike any you’ve ever visited—an invitation delivered by one of our most audacious and astonishing literary magicians. City of elegance and squalor. Of religious fervor and wanton lusts. And everywhere, on the walls of courtyards and churches, an incandescent fungus of mysterious and ominous origin. In Ambergris, a would-be suitor discovers that a sunlit street can become a killing ground in the blink of an eye. An artist receives an invitation to a beheading—and finds himself enchanted. And a patient in a mental institution is convinced that he’s made up a city called Ambergris, imagined its every last detail, and that he’s really from a place called Chicago . . . By turns sensuous and terrifying, filled with exotica and eroticism, this interwoven collection of stories, histories, and “eyewitness” reports invokes a universe within a puzzle box where you can lose—and find—yourself again.

The J. Paul Getty Museum Journal has been published annually since 1974. It contains scholarly articles and shorter notes pertaining to objects in the Museum’s seven curatorial departments: Antiquities, Manuscripts, Paintings, Drawings, Decorative Arts, Sculpture and Works of Art, and Photographs. The Journal includes an illustrated checklist of the Museum’s acquisitions for the precious year, a staff listing, and a statement by the Museum’s director outlining the year’s most important activities. Volume 20 of the J. Paul Getty Museum Journal contains an index to volumes 1 to 20 and includes articles by John Walsh, Carl Brandon Strehlke, Barbara Bohen, Kelly Pask, Suzanne Lewis, Elizabeth Pilliod, Anne Ratzki-Kraatz, Sharon K. Shore, Linda A. Strauss, Brian Considine, Arie Wallert, Richard Rand, And Jacky De Veer-Langezaal.

This 1934 volume collects some of the relics of past generations of farmers, farmyards and traditional agricultural methods.

The essays collected here in honor of Marx Wartofsky's sixty-fifth birthday are a celebration of his rich contribution to philosophy over the past four decades and a testimony to the wide influence he has had on thinkers with quite various approaches of their own. His diverse philosophical interests and main themes have ranged from constructivism and realism in the philosophy of science to practices of representation and the creation of artifacts in aesthetics; and from the development of human cognition and the historicity of modes of knowing to the construction of norms in the context of concrete social critique. Or again, in the history of philosophy, his work spans historical approaches to Hegel, Feuerbach, and Marx, as well as contemporary implications of their work; and in applied philosophy, problems of education, medicine, and new technologies. Marx's philosophical theorizing moves from the highest levels of abstraction to the most concrete concern with the everyday and with contemporary social and political reality. And perhaps most notably, it is acutely sensitive to the importance of historical development and social practice. As a student of John Herman Randall, Jr. and Ernest Nagel at Columbia, Marx developed an exemplary background in both the history of philosophy and systematic philosophy and subsequently combined this with a wide acquaintance with analytic philosophy. He is at once aware of the requirements of system and of the need for rigorous and careful detailed argument.