Remy S Painter

Ian Sullivan is being chased by a mobster and has to come up with $5,000 he doesn't have. His only hope is an estimate for a large house. Little does he know that the house belongs to a loup garou who just happens to be his mate. Ian's father and brother died because his brother gambled and owed money to a mobster. Now Sal Ferrara want to collect from him and, if he doesn't, he'll take Ian as his boy toy instead. Ian's only hope is getting a job from an estimate his father had outstanding for an 7,800 sq. ft. house. Little does Ian know that the house belongs to a Remy Clavier, a loup garou who meets Ian and knows he's found his mate. Now all Remy has to do is take care of Sal Ferrara and convince Ian, a human, to accept both him and his wolf.

Fully illustrated, this first complete appraisal of Mignot's art reestablishes the prominence of a painter who all but disappeared from the annals of art after his death in 1870. Beginning with only fifteen known paintings, the authors retraced Mignot's life and have identified as his more than one hundred paintings and sketches in private collections and museums.

In Breaking van Gogh, James Grundvig investigates the history and authenticity of van Gogh’s iconic Wheat Field with Cypresses, currently on display at the Metropolitan Museum of Art in New York. Relying on a vast array of techniques from the study of the painter’s biography and personal correspondence to the examination of the painting’s style and technical characteristics, Grundvig proves that “the most expensive purchase” housed in the Met is a fake. The Wheat Field with Cypresses is traditionally considered to date to the time of van Gogh’s stay in the Saint-Rémy mental asylum, where the artist produced many of his masterpieces. After his suicide, these paintings languished for a decade, until his sister-in-law took them to a family friend for restoration. The restorer had other ideas. In the course of his investigation, Grundvig traces the incredible story of this piece from the artist’s brushstrokes in sunlit southern France to a forger’s den in Paris, the art collections of a prominent Jewish banking family and a Nazi-sympathizing Swiss arms dealer, and finally the walls of the Met. The riveting narrative weaves its way through the turbulent history of twentieth-century Europe, as the painting’s fate is intimately bound with some of its major players.

A new interpretation of the development of artistic modernity in eighteenth-century France What can be gained from considering a painting not only as an image but also a material object? How does the painter’s own experience of the process of making matter for our understanding of both the painting and its maker? The Painter’s Touch addresses these questions to offer a radical reinterpretation of three paradigmatic French painters of the eighteenth century. In this beautifully illustrated book, Ewa Lajer-Burcharth provides close readings of the works of François Boucher, Jean-Siméon Chardin, and Jean-Honoré Fragonard, entirely recasting our understanding of these painters’ practice. Using the notion of touch, she examines the implications of their strategic investment in materiality and sheds light on the distinct contribution of painting to the culture of the Enlightenment. Lajer-Burcharth traces how the distinct logic of these painters’ work—the operation of surface in Boucher, the deep materiality of Chardin, and the dynamic morphological structure in Fragonard—contributed to the formation of artistic identity. Through the notion of touch, she repositions these painters in the artistic culture of their time, shifting attention from institutions such as the academy and the Salon to the realms of the market, the medium, and the body. Lajer-Burcharth analyzes Boucher’s commercial tact, Chardin’s interiorized craft, and Fragonard’s materialization of eros. Foregrounding the question of experience—that of the painters and of the people they represent—she shows how painting as a medium contributed to the Enlightenment’s discourse on the self in both its individual and social functions. By examining what paintings actually “say” in brushstrokes, texture, and paint, The Painter’s Touch transforms our understanding of the role of painting in the emergence of modernity and provides new readings of some of the most important and beloved works of art of the era.