20th Century Art Box

Unparalleled in scope and quality and designed for reading aloud and sharing, this splendid anthology brings together some of the most memorable and beloved children's books of our time. Here are classics such as Madeline and Curious George; contemporary bestsellers such as Guess How Much I Love You and The Stinky Cheese Man; Caldecott Medal winners such as Make Way for Ducklings and Where the Wild Things Are; and family favorites such as Goodnight Moon, The Sneetches, Winnie-the-Pooh, and Alexander & The Terrible, No Good Very Bad Day, soon to be a motion picture. The selections range from concept books and wordless books to picture books and short read-aloud stories, and represent the complete array of childhood themes and reading needs: ABCs, number and color books, stories about going to bed and going to school; tales about growing up, siblings, parents, and grandparents; animal stories, fantasies; fables; magical stories; stories about everyday life--and more. This beautiful edition includes a recommended list of books published in the time since this anthology's original compilation, including Caldecott Honors Don't Let the Pigeon Drive the Bus! and Olivia, with descriptive annotations intended to guide parents to these new books and new voices of the 21st century. Also included are an introduction from editor Janet Schulman, capsule biographies of the 62 writers and artists represented in the collection, color-coded running heads indicating age levels, and indexes. As a gift, a keepsake, and a companion in a child's first steps toward a lifelong love of reading, The 20th Century Children's Book Treasury belongs in every family's bookcase.

An alphabetically-arranged selection of 500 artists, each entry consisting of a large colour image of an artwork and a short text about the artist and his/her work. Also includes a glossary of terms, a glossary of artistic movements and a directory of museums and galleries.

"Examines the wide-ranging influence of games and play on the development of modern art in the twentieth century"--Provided by publisher.

A collection of 100 postcards, each featuring a striking cover from American Vogue. From early aspirational illustrations to modern celebrity photography, this is a stunning selection of Vogue's most dazzling images. Since its launch in 1892, Vogue has brought sophistication to its readers around the world. Early illustrations from artists including George Wolfe Plank, Olive Tilton, Pierre Brissaud, and Eduardo Garcia Benito saw ethereal figures of fantasy develop into red-lipped flappers, and as colour photographs began to appear, the women transformed again: from Surrealist images by Horst P. Horst to 'women in the life of the moment', captured by Irving Penn. From the fifties onwards, Vogue women became more accessible still, as models and stars like Elizabeth Taylor, Goldie Hawn, Cindy Crawford, and Cher, with their own distinct personalities, appeared through the lenses of Richard Avedon and Snowdon. Vogue covers now are the epitome of style and beauty, with such illustrious photographers as Mario Testino, Annie Leibovitz, Steven Klein, and Patrick Demarchelier photographing stars like Lady Gaga, Kirsten Dunst, and Kate Moss, celebrating female icons across modern culture.

Emphasizing the diversity of twentieth-century collage practices, Rona Cran's book explores the role that it played in the work of Joseph Cornell, William Burroughs, Frank O'Hara, and Bob Dylan. For all four, collage was an important creative catalyst, employed cathartically, aggressively, and experimentally. Collage's catalytic effect, Cran argues, enabled each to overcome a potentially destabilizing crisis in representation. Cornell, convinced that he was an artist and yet hampered by his inability to draw or paint, used collage to gain access to the art world and to show what he was capable of given the right medium. Burroughs' formal problems with linear composition were turned to his advantage by collage, which enabled him to move beyond narrative and chronological requirement. O'Hara used collage to navigate an effective path between plastic art and literature, and to choose the facets of each which best suited his compositional style. Bob Dylan's self-conscious application of collage techniques elevated his brand of rock-and-roll to a level of heightened aestheticism. Throughout her book, Cran shows that to delineate collage stringently as one thing or another is to severely limit our understanding of the work of the artists and writers who came to use it in non-traditional ways.