28 Artists 2 Saints

Here is a dazzling collection from Joan Acocella, one of our most admired cultural critics: thirty-one essays that consider the life and work of some of the most influential artists of our time (and two saints: Joan of Arc and Mary Magdalene). Acocella writes about Primo Levi, Holocaust survivor and chemist, who wrote the classic memoir, Survival in Auschwitz; M.F.K. Fisher who, numb with grief over her husband’s suicide, dictated the witty and classic How to Cook a Wolf; and many other subjects, including Dorothy Parker, Mikhail Baryshnikov, and Saul Bellow. Twenty-Eight Artists and Two Saints is indispensable reading on the making of art—and the courage, perseverance, and, sometimes, dumb luck that it requires.

ÊAmongst the apparent enigmas of life, amongst the seemingly most radical and abiding of interior antinomies and conflicts experienced by the human race and by individuals, there is one which everything tends to make us feel and see with an ever-increasing keenness and clearness. More and more we want a strong and interior, a lasting yet voluntary bond of union between our own successive states of mind, and between what is abiding in ourselves and what is permanent within our fellow-men; and more and more we seem to see that mere Reasoning, Logic, Abstraction,Ñall that appears as the necessary instrument and expression of the Universal and Abiding,Ñdoes not move or win the will, either in ourselves or in others; and that what does thus move and win it, is Instinct, Intuition, Feeling, the Concrete and Contingent, all that seems to be of its very nature individual and evanescent. Reasoning appears but capable, at best, of co-ordinating, unifying, explaining the material furnished to it by experience of all kinds; at worst, of explaining it away; at best, of stimulating the purveyance of a fresh supply of such experience; at worst, of stopping such purveyance as much as may be. And yet the Reasoning would appear to be the transferable part in the process, but not to move; and the experience alone to have the moving power, but not to be transmissible. Experience indeed and its resultant feeling are always, in the first instance, coloured and conditioned by every kind of individual many-sided circumstances of time and place, of race and age and sex, of education and temperament, of antecedent and environment. And it is this very particular combination, just this one, so conditioned and combined, coming upon me just at this moment and on this spot, just at this stage of my reach or growth, at this turning of my way, that carries with it this particular power to touch or startle, to stimulate or convince. It is just precisely through the but imperfectly analyzable, indeed but dimly perceived, individual connotation of general terms; it is by the fringe of feeling, woven out of the past doings and impressions, workings and circumstances, physical, mental, moral, of my race and family and of my own individual life; it is by the apparently slight, apparently far away, accompaniment of a perfectly individual music to the spoken or sung text of the common speech of man, that I am, it would seem, really moved and won. And this fringe of feeling, this impression, is, strictly speaking, not merely untransferable, but also unrepeatable; it is unique even for the same mind: it never was before, it never will be again. Heraclitus, if we understand that old Physicist in our own modern, deeply subjective, largely sentimental way, would appear to be exactly right: you cannot twice step into the same stream, since never for two moments do the waters remain identical; you yourself cannot twice step the same man into the same river, for you have meanwhile changed as truly as itself has done, _____ ___: all things and states, outward and inward, appear indeed in flux: only each moment seems to bring, to each individual, for that one moment, his power to move and to convince.

Here is a dazzling collection from Joan Acocella, one of our most admired cultural critics: thirty-one essays that consider the life and work of some of the most influential artists of our time (and two saints: Joan of Arc and Mary Magdalene). Acocella writes about Primo Levi, Holocaust survivor and chemist, who wrote the classic memoir, Survival in Auschwitz; M.F.K. Fisher who, numb with grief over her husband’s suicide, dictated the witty and classic How to Cook a Wolf; and many other subjects, including Dorothy Parker, Mikhail Baryshnikov, and Saul Bellow. Twenty-Eight Artists and Two Saints is indispensable reading on the making of art—and the courage, perseverance, and, sometimes, dumb luck that it requires.

DIV Paintings by Renaissance masters Cranach, Dürer, and Holbein are among the highlights featured in the first comprehensive study of the largest collection of early German paintings in America. /div

The studies in this volume all deal with images and texts that relate to the veneration of the saints in Byzantium after the 9th century. Some papers are devoted to the church calendar and the annual commemorations of hundreds of saints through liturgical poetry and sequences of isolated images in fresco, icon painting and illuminated manuscripts. Others are concerned with the longer and rarer, narrative cycles devoted to the life of a single saint, cycles found mainly in fresco and on the so-called vita icons that first appear in the East in the late 12th century. Additional studies deal with the developing role of icons in liturgical ceremonies, and with images of a saint being approached by a supplicant or patron. A final section is devoted to places made holy by the saints, and to their holy relics.

Updated catalogue raisonné of one of the most important figures in American sculpture.

"The Metropolitan Museum of Art has some forty-five sculptures by Augustus Saint-Gaudens (1848–1907), the American Beaux-Arts sculptor who worked in New York, Paris, and Cornish, New Hampshire. The Museum’s collection fully represents the range of his oeuvre—from early cameos to innovative painterly bas-reliefs to reductions after public monuments for East Coast cities. Through the lens of the Museum's unparalleled holdings as well as some related loans, this exhibition offers a reappraisal of Saint-Gaudens's groundbreaking role in the history of late nineteenth-century American sculpture and the Aesthetic Movement."--The Metropolitan Museum of Art web site