A Fine Imitation

Set in the glamorous 1920s, A Fine Imitation is an intoxicating debut that sweeps readers into a privileged Manhattan socialite's restless life and the affair with a mysterious painter that upends her world, flashing back to her years at Vassar and the friendship that brought her to the brink of ruin. Vera Bellington has beauty, pedigree, and a penthouse at The Angelus--the most coveted address on Park Avenue. But behind the sparkling social whirl, Vera is living a life of quiet desperation. Her days are an unbroken loop of empty, champagne-soaked socializing, while her nights are silent and cold, spent waiting alone in her cavernous apartment for a husband who seldom comes home. Then Emil Hallan arrives at The Angelus to paint a mural above its glittering subterranean pool. The handsome French artist moves into the building, shrouds his work in secrecy, and piques Vera's curiosity, especially when the painter keeps dodging questions about his past. Is he the man he claims to be? Even as she finds herself increasingly drawn to Hallan's warmth and passion, Vera can't suppress her suspicions. After all, she has plenty of secrets, too--and some of them involve art forgers like her bold, artistically talented former friend, Bea, who years ago, at Vassar, brought Vera to the brink of catastrophe and social exile. When the dangerous mysteries of Emil's past are revealed, Vera faces an impossible choice--whether to cling to her familiar world of privilege and propriety or to risk her future with the enigmatic man who has taken her heart. A Fine Imitation explores what happens when we realize that the life we've always led is not the life we want to have.

Set in the 1950s--and now in paperback--Lady Be Good sweeps readers into the world of the mischievous, status-obsessed daughter of a hotel magnate and the electric nightlife of three iconic cities: New York, Miami, and Havana. Kitty Tessler is the winsome and clever only child of self-made hotel and nightclub tycoon Nicolas Tessler. Kitty may not have the same pedigree as the tennis club set she admires, but she still sees herself as every inch the socialite--spending her days perfecting her look and her nights charming all the blue-blooded boys who frequent her father's clubs. It seems like the fun will never end until Kitty's father issues a terrible ultimatum: she may no longer date the idle rich. Instead, Kitty must marry Andre, her father's second-in-command, and take her place as the First Lady of his hotel empire. Kitty is forced to come up with a wily and elaborate plan to protect her own lofty ideas for the future, as well as to save her best friend, Henrietta Bancroft, from a doomed engagement; Kitty will steal Henrietta's fiancé, a fabulously wealthy but terribly unkind man from a powerful family--thereby delivering the one-two punch of securing her now-fragile place on the social ladder and keeping her friend from a miserable marriage. Then Kitty meets Max, a member of a band visiting New York from her father's Miami club, and her plans take a turn. Smitten, but still eager to convince her father of her commitment to Andre, Kitty and Hen follow Max, Andre, and the rest of the band back down to Miami--and later to Cuba. As Kitty spends more time with Max, she begins waking up to the beauty--and the injustice--of the world beyond her small, privileged corner of Manhattan. And when her well-intended yet manipulative efforts backfire, Kitty is forced to reconsider her choices and her future before she loses everyone she loves.

Sylvia Lavin uncovers the origins of one of the fundamental concepts of modern architectural theory, the idea that architecture is a form of language.

Twelve studies by eminent art historian James S. Ackerman. This collection contains studies written by art historian James Ackerman over the past decade. Whereas Ackerman's earlier work assumed a development of the arts as they responded to social, economic, political, and cultural change, his recent work reflects the poststructural critique of the presumption of progress that characterized Renaissance and modernist history and criticism. In this book he explores the tension between the authority of the past—which may act not only as a restraint but as a challenge and stimulus—and the potentially liberating gift of invention. He examines the ways in which artists and writers on art have related to ancestors and to established modes of representation, as well as to contemporary experiences. The "origins" studied here include the earliest art history and criticism; the beginnings of architectural drawing in the Middle Ages and Renaissance; Leonardo Da Vinci's sketches for churches, the first in the Renaissance to propose supporting domes on sculpted walls and piers; and the first architectural photographs. "Imitation" refers to artistic achievements that in part depended on the imitation of forms established in practices outside the fine arts, such as ancient Roman rhetoric and print media. "Conventions," like language, facilitate communication between the artist and viewer, but are both more universal (understood across cultures) and more fixed (resisting variation that might diminish their clarity). The three categories are closely linked throughout the book, as most acts of representation partake to some degree of all three.

In a systematic overview of classical and modern contributions to aesthetics, Professor Sparshott argues that all four lines of theory, and no others, are necessary to coherent thinking about art. Originally published in 1982. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.