exhibitions

Presents 137 full-color plates of still life works by C?zanne, Monet, Degas, Cassatt, Gaugin, and eleven other Impressionist painters, accompanied by descriptions, and also includes five essays by noted scholars.

"'Portolan charts,' so called from the Italian adjective portolano, meaning 'related to ports or harbours,' were born during the 12th century in the maritime community. These charts, drawn on parchment and crisscrossed with lines referring to the compass directions, indicated the succession of ports and anchorages along the shores, and were used by European sailors exploring the world up until the 18th century. Not only used as navigational instruments on boats, they were also produced for wealthy sponsors in the form of illuminated images of the world, to illustrate the economic and political interests of the major European sea powers. This book takes stock of the state of knowledge on these maps, bringing together contributions from a dozen European specialists, who trace the history and diversity of styles and places of production of these charts. This type of mapping is approached from three angles. The first part, 'The Mediterranean,' refers to the manufacture and use of the first charts, centered on the Mediterranean, and the persistence of this tradition in the Mediterranean basin until the 18th century. The second part, 'Wide Open Spaces,' shows how these regional charts have evolved from a technical and iconographical point of view at the time of the great European voyages, in order to include the oceans and new worlds. The third part, 'The Indian Ocean,' shows how these charts, in a maritime area where ancient civilizations coexisted, were dependent on other cartographic traditions (ancient, Arab, Asian) before joining the information reported by Portuguese sailors and European trading companies in the modern era."--Publisher's website.

Collects paintings and sketches done by Dr. Seuss, both those seen in his children's books and those that never were published.

"Propaganda," Adolf Hitler wrote in 1924, "is a truly terrible weapon in the hands of an expert." State of Deception: The Power of Nazi Propaganda documents how, in the 1920s and 1930s, the Nazi Party used posters, newspapers, rallies, and the new technologies of radio and film to sway millions with its vision for a new Germany -- reinforced by fear-mongering images of state "enemies." These images promoted indifference toward the suffering of neighbors, disguised the regime's genocidal actions, and insidiously incited ordinary people to carry out or tolerate mass violence.

Examines how Impressionist paintings were painted and what materials were used by analyzing pigments and paint media.

Reconstructs the original Photo-Secession exhibition of 1902 which featured works by Alfred Stieglitz, Edward Steichen, F. Holland Day, and other photographers who believed in the medium as an art form, and includes reproductions of the catalog and other memorabilia, as well as a discussion of the Photo-Secession movement.