A Canvas Of Flesh

Former detective Alexander Dick receives a grisly and taunting invitation from the serial murderer the media calls Rembrandt. Five years earlier, Alec had investigated a series of Rembrandt murders in Kansas City with devastating results to his career and family. Now, Rembrandt has tracked him down in Dallas and taken up his macabre art in the night-life haunts of the city. Through the course of the investigation, Alec is provided with unique allies: Jennifer Wilson, a psychic sometimes engaged by the police in missing persons cases, and Michael Bennett, the singer and lyricist for a local heavy metal band, Brothers Grim. As Rembrandt begins claiming victims--young women stripped nude and painted with their own blood--Alec, Jennifer, and Michael must work together to try to catch Rembrandt before he kills again, a venture that hurtles them towards an inevitable encounter and a stunning conclusion.

A classic book on the craft of painting including technique and materials.

ANOTHER EPIC STEP HAS BEEN MADE IN WARS OF THE MIND VOL. 4 (ON-TOP A HILL - BENEATH A TALL TREE.) THIS NEW INSTALLMENT IN THE ONGOING MENTAL AND EMOTIONAL BATTLES OF THE WARS OF THE MIND FOLLOWS VOCALIST/ POET JONATHAN W. HAUBERT THROUGH SOME OF THE DARKEST TIMES OF THE POET'S CAREER AND LEADING TO THE MOST EPIC ADVENTURES OF HIS LIFE. AFTER THE COMPLETION OF VOL. 3 (BEHIND OPEN DOORS.) JONATHAN WAS READY TO TAKE FULL CONTROL OF HIS PERSONAL STRUGGLES THROUGH INNER STRENGTH AND SOBRIETY BUT SUCH ACHIEVEMENTS WERE SHORT LIVED, AFTER GAINING THE NEWS OF THE DEATHS OF MANY LOVED ONES, JONATHAN THEN FELL BACK INTO A MUCH DARKER DEPRESSION. HEARTBROKEN AND AT ROCK-BOTTOM, JONATHAN WAS SEARCHING FOR CONTROL AND HOPE, AND THAT HOPE WAS INDEED GAINED, WHEN GIVEN THE OPPORTUNITY TO REUNITE WITH LONGTIME BEST-FRIEND AND GUITARIST JULIO C. SALAZAR IN COUNT YOUR DEAD AND TO JOIN IN THE WRITING AND RECORDING OF THEIR DEBUT ALBUM "NO RETURN." SO ONCE AGAIN I WELCOME YOU THE READER INTO THIS ENDLESSLY GROWING POETIC WORLD OF LOVE, DEATH, RAGE, PAIN, HATE, HOPE AND TRUTH. SO COME NOW AND TAKE THIS FOURTH STEP INTO THE WARS OF OUR MINDS.

Although much of Carter's work is considered part of the contemporary canon, its true strangeness is still only partially understood. Lorna Sage argues that one key to a better understanding of Carter's writings is the extraordinary intelligence with which she read the cultural signs of our times. From structuralism and the study of folk tales in the 1960s to fairy stories, gender politics and the theoretical 'pleasure of the text', which she makes so real in her writing. Carter legitimised the life of fantasy and celebrated the fertility of the female imagination more than any other writer. Lorna Sage's authoritative study explores the roots of Carter's originality, covering all her novels as well as some short stories and non-fiction.

Lead in Modern and Contemporary Art is the first edited volume to critically examine uses of lead as both material and cultural signifier in modern and contemporary art. The book analyzes the work of a diverse group of artists working in Europe, the Middle East, and North America, and takes into account the ways in which gender, race, and class can affect the cultural perception of lead. Bringing together contributions from a distinguished group of international contributors across various fields, this volume explores lead's relevance from a number of perspectives, including art history, technical art history, art criticism, and curatorial studies. Drawing on current art historical concerns with materiality, this volume builds on recent exhibitions and scholarship that reconsider the role of materials in shaping artistic meaning, thus giving a central relevance to the object and its physicality.

Shapely Bodies: The Image of Porcelain in Eighteenth-Century France constructs the first cultural history of porcelain making in France. It takes its title from two types of “bodies” treated in this study: the craft of porcelain making shaped clods of earth into a clay body to produce high-end commodities and the French elite shaped human bodies into social subjects with the help of makeup, stylish patterns, and accessories. These practices crossed paths in the work of artisans, whose luxury objects reflected and also influenced the curves of fashion in the eighteenth century. French artisans began trials to reproduce fine Chinese porcelain in the 1660s. The challenge proved impossible until they found an essential ingredient, kaolin, in French soil in the 1760s. Shapely Bodies differs from other studies of French porcelain in that it does not begin in the 1760s at the Sèvres manufactory when it became technically possible to produce fine porcelain in France, but instead ends there. Without the secret of Chinese porcelain, artisans in France turned to radical forms of experimentation. Over the first half of the eighteenth century, they invented artificial alternatives to Chinese porcelain, decorated them with French style, and, with equal determination, shaped an identity for their new trade that distanced it from traditional guild-crafts and aligned it with scientific invention. The back story of porcelain making before kaolin provides a fascinating glimpse into the world of artisanal innovation and cultural mythmaking. To write artificial porcelain into a history of “real” porcelain dominated by China, Japan, and Meissen in Saxony, French porcelainiers learned to describe their new commodity in language that tapped into national pride and the mythic power of French savoir faire. Artificial porcelain cut such a fashionable image that by the mid-eighteenth century, Louis XV appropriated it for the glory of the crown. When the monarchy ended, revolutionaries reclaimed French porcelain, the fruit of a century of artisanal labor, for the Republic. Tracking how the porcelain arts were depicted in documents and visual arts during one hundred years of experimentation, Shapely Bodies reveals the politics behind the making of French porcelain’s image. Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.

This beautifully illustrated book is the first full-scale chronological and critical account of the paintings and drawings of Correggio (1489-1534)--a genius of the Italian Renaissance. The author places the artist in the context of 16th-century Italy and his isolation from fellow artists of the period, examines his particular creative process, and sheds new light on Correggio's patrons. 200 color and 50 b&w illustrations.