《黑龙江流域民族的造型艺术》摘译自C.B.伊万诺夫所著的《19世纪至20世纪初西伯利亚民族造型艺术资料集》（苏联科学院出版社，1954），原书70余万字，包括34个民族，附有插图652幅。《黑龙江流域民族的造型艺术》从原书节选了8个通古斯语民族（埃文克、埃文、涅吉达尔、 那乃、乌尔奇、乌德赫、 奥罗奇、奥罗克）及尼夫赫族部分，以图文并茂以翔实的资料为我们展现了黑龙江（阿穆尔河）流域民族的民俗生活及其在造型艺术方面的贡献，并把造型艺术引入到了萨满文化研究领域。

本书为“中国古版画”之一种，收录陈洪缓创作全部傅世版画作品《九歌图》、《水浒菜子》、《西厢记》、《博古菜子》等。并著尃文，详述陈氏生平，创作，另有评析，年表等资料。陈洪緩（一五九八——一六五一），字章侯，号老莲，别号老遲等，浙江诸暨人。明末保傑出画家，版画聖手，其所緰人物，*干伟岸，衣绞细劲清圆，晚年作品造型*向跨张，神*各異，有古拙之凤，亦有怪诞之趣，突破前人陈规，自创特殊面貌，所绘历史故事，状貌服饰，必考古吻合。

When they met in 1947 Trevor-Roper, a young historian at Christ Church, Oxford, was 33. Berenson, the world-famous art critic, was 82, frail but still intensely curious about the world. Trevor Roper promised to write to him and his letters continued until Berenson's death in in 1959. Elegantly constructed, beautifully and precisely written, they are shot through with high-octane malice, sharp judgements and blistering comments, and many wonderfully funny episodes.
Trevor-Roper was an intellectual heavyweight, but subjects range widely: several brilliant set-pieces on Oxford college elections, books, journalism, publishing, politics (postwar Europe, ex-Nazis and collaborators, the Cold War, Suez, etc), history and history-writing, personal life (including marriage to Earl Haig's daughter Alexandra after her messy divorce), travel, gossip, and so on.
He has a memorable journey on a pilgrims' bus in Persia, goes behind the Iron Curtain to meet Communist dignitaries and speeds in his glamorous grey Bentley to visit duchesses in the Scottish borders. Figures in the letters include Evelyn Waugh, Isaiah Berlin, A.L. Rowse, Anthony Eden, Gerald Brenan, A.J.P.Taylor, Arnold Toynbee, Dimitri Shostakovitch, C.S. Lewis and Harold Macmillan.

China's sixteenth and seventeenth centuries saw an unprecedented explosion in the production and circulation of woodblock-printed books. What can surviving traces of that era's print culture reveal about the makers and consumers of these books? Home and the World addresses this question by carefully examining a wide range of late Ming books, considering them not merely as texts, but as material objects and economic commodities designed, produced, and marketed to stand out in the distinctive book marketplace of the time, and promising high enjoyment and usefulness to readers. Although many of the mass-market commercial imprints studied here might have struck scholars from the eighteenth century on as too trivial, lowbrow, or slipshod to merit serious study, they prove to be an invaluable resource, providing insight into their readers' orientations toward the increasingly complex global stage of early modernity and toward traditional Chinese conceptions of textual, political, and moral authority. On a more intimate scale, they tell us about readers' ideals of a fashionable and pleasurable private life. Through studying these works, we come closer to recapturing the trend-conscious, sophisticated, and often subversive ways readers at this important moment in China's history imagined their world and their place within it.

Over the last 30 or 40 years a substantial literature has grown up in which the tools of economic theory and analysis have been applied to problems in the arts and culture. Economists who have surveyed the field generally locate the origins of contemporary cultural economics as being in 1966, the year of publication of the first major work in modern times dedicated specifically to the economics of the arts. It was a book by Baumol and Bowen which showed that economic analysis could illuminate the supply of and demand for artistic services, the contribution of the arts sector to the economy, and the role of public policy. Following the appearance of the Baumol and Bowen work, interest in the economics of the arts grew steadily, embracing areas such as demand for the arts, the economic functions of artists, the role of the nonprofit sector, and other areas. Cultural economics also expanded to include the cultural or entertainment industries (the media, movies, the publishing industry, popular music), as well as heritage and museum management, property right questions (in particular copyright) and the role of new communication technologies such as the internet.
The field is therefore located at the crossroads of several disciplines: economics and management, but also art history, art philosophy, sociology and law. The Handbook is placed firmly in economics, but it also builds bridges across these various disciplines and will thus be of interest to researchers in all these different fields, as well as to those who are engaged in cultural policy issues and the role of culture in the development of our societies.
*Presents an overview of the history of art markets
*Addresses the value of art and consumer behavior toward acquiring art
*Examines the effect of art on economies of developed and developing countries around the world

哪些作品能被称作艺术品而哪些不能，由谁来评判？
艺术品都是艺术家独立完成的吗？
艺术家是否像人们想象中的那样特立独行？
艺术家、评论家、艺术品商人、收藏家之间有着怎么样的关系？
贝克尔的艺术社会学经典著作《艺术界》为这些问题提供了答案。
对艺术的传统分析往往局限于艺术家和艺术品，而贝克尔则以社会学之眼审视艺术，将艺术看作一种集体活动，对“艺术界”这一概念进行了丰富而精微的阐发。在贝克尔看来，艺术界通常与它试图与之划清界限的世界有着千丝万缕的联系，因此，本书的每一章都从一个略有不同的视角窥探艺术界，讨论了艺术品创作进程及其参与者之间的合作与冲突，艺术活动中的特殊惯例，新的艺术家分类，艺术与国家的关系，以及艺术的名声问题等等，展现了一幅艺术界运作与变化的生动全景图。

阿比•瓦尔堡是20 世纪卓越的美术史家和文化史家。他生前发表的著述并不多，很多重要的学术思想都零零落落地散布在其讲稿、日记、信札、纸条中。本书是瓦尔堡研究院前院长贡布里希教授在对瓦尔堡文献进行多年研究的基础上撰写而成，是一部以历史学家的角度书写就的思想传记。作者熟谙瓦尔堡学术成长所依赖的文化背景，精通瓦尔堡研究的文艺复兴问题，擅长心理分析，他在书中不仅实现了两位美术史巨人跨越时空的对话，而且一起对古典传统的双重性做了演绎。
书中共附有174幅插图，其中包括瓦尔堡一生各个阶段的照片、笔记本的内页和艺术品的图片等，另附有一篇扎克斯尔所撰写的关于瓦尔堡图书馆历史的回忆录，生动而全面地展示了这位艺术史上关键人物的学术生涯和学术思想。正如《艺术通报》所说，此书是“一部绝佳的思想传记，叙述清晰，感人至深”。

Serving as both an introduction to fifteenth-century Italian painting and as a text on how to interpret social history from the style of pictures in a given historical period, this new edition to Baxandall's pre-eminent scholarly volume examines early Renaissance painting, and explains how the style of painting in any society reflects the visual skills and habits that evolve out of daily life. Renaissance painting, for example, mirrors the experience of such activities as preaching, dancing, and gauging barrels. The volume includes discussions of a wide variety of painters, including Filippo Lippi, Fra Angelico, Stefano di Giovanni, Sandro Botticelli, Masaccio, Luca Signorelli, Boccaccio, and countless others. Baxandall also defines and illustrates sixteen concepts used by a contemporary critic of painting, thereby assembling the basic equipment needed to explore fifteenth-century art.
This new second edition includes an appendix that lists the original Latin and Italian texts referred to throughout the book, providing the reader with all the relevant, authentic sources. It also contains an updated bibliography and a new reproduction of a recently restored painting which replaces the original.

列文森中国研究书籍奖作品
融合传记、艺术与历史
第一次在文化和历史背景中完整描画丰子恺
丰子恺最大的成就，或许是在变幻无常的时代始终保持了一种自由自在的精神。
——白杰明
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这是一部融合了传记、艺术和历史的作品。讲述了在20世纪20年代至30年代的政治动荡中，出现的最有天赋和最重要的艺术家之一——丰子恺的生平。作者在书中呈现了一幅交织并行的图景：作家、画家、翻译家丰子恺的生活和20世纪中国动荡的历史。他考察了丰子恺审美眼光的形成，以及它如何与中国传统及当代的文化背景相联系。
作者认为，丰子恺的写作与绘画根植于自我表达的哲学。难以归类的丰子恺，在很大程度上依然是一个谜：他同情劳苦大众，并得到很多政治化的知识分子的认同，但也是个浪漫的人；他是虔诚的佛教徒，是自然和儿童的近距离观察者；他的艺术看似温和，却常常传递着强烈的信息。在众多关于丰子恺的著作中，本书第一次检视丰子恺在五四作家和知识分子中的位置，第一次在中国的艺术、宗教和文学传统的背景中讨论他的位置。

巴洛克与洛可可是17―18世纪流行于欧洲的两种艺术风格，二者都属于贵族艺术。巴洛克是17世纪欧洲艺术的总称，发源于罗马，而后迅速在意大利全国范围内流行起来，并传播到当时的法国、荷兰等国家。它主要体现在教堂建筑、绘画、室内装饰、庭院设计等各个方面。到了18世纪，轻快、秀气、纤细典雅的洛可可风格取代华丽、夸张、矫揉造作的巴洛克风格，成了全欧洲艺术风格的主流。 本书作者以艺术史家的独特视角，将巴洛克与洛可可这两种艺术风格置于当时欧洲的历史背景下进行审视，以通俗、轻松的文字描绘了巴洛克与洛可可艺术的丰富世界，介绍了相关的艺术理念，而书中大量的珍贵插图则会带给我们直观的印象和审美的享受。

大洋洲原始民族在长期的生活和生产实践中，创造了自己独特的艺术。其中有带精美装饰的独木舟、船浆，有图案丰富多彩的树皮布、彩绘墙壁和布满各种装饰的聚会所、神屋、祭室、仓库等建筑，种种神秘的祖先雕像、面具、法器及有装饰图案或造型简洁的日用品等。直到20世纪中期，大洋洲原始部族仍处于史前的石器时代。不论怪诞离奇的毛利木雕和富有神秘色彩的复活节石雕像，还是新几内亚的祖先雕像和面具，都证明大洋洲是世界上最引人注目的原始艺术遍布的地区之一。

在拉斐尔笔下，那些圣徒们，看到了哪些奇异的景象？
从拉斐尔的画中，阿拉斯那双奇异的眼睛，看到了哪些从未看到的景象？
透过拉斐尔和阿拉斯的画与文字，我们又能看到什么？
有什么奇异的景象，等待着我们去发现？
这是一部讨论奇异景象的书，更是一部发现奇异眼光的书。

1947年，《运动中的影响》出版后，如今已经是第8版。全书有440幅配图，其中11幅是彩色图片。本书是对1947年前后现代设计运动的一个详尽的视觉汇编。包括包豪斯和新包豪斯时期很多设计大师的作品，包括马歇?布劳耶（Marcel Breuer）、格罗皮乌斯（Walter Gropius）、奥斯卡?史莱姆（Oskar Schlemmer）和赫伯特?拜耶（Herbert Bayer）等。出现在本书里的艺术家、建筑家、设计师和摄影家都是20世纪现代运动中里程碑式的人物。如阿尔瓦?阿尔托、赫伯特?拜耶、德里弗斯、柯布西耶、格罗皮乌斯、保罗?兰德、怀特等。格罗皮乌斯评价：“本书是将会是设计教育里的先锋。”

Kant after Duchamp brings together eight essays around a central thesis with many implications for the history of avant-gardes. Although Duchamp's readymades broke with all previously known styles, de Duve observes that he made the logic of modernist art practice the subject matter of his work, a shift in aesthetic judgment that replaced the classical "this is beautiful" with "this is art." De Duve employs this shift (replacing the word "beauty" by the word "art") in a rereading of Kant's Critique of Judgment that reveals the hidden links between the radical experiments of Duchamp and the Dadaists and mainstream pictorial modernism.Part I of the book revolves around Duchamp's famous/infamous Fountain. Part II explores his passage from painting to the readymades, from art in particular to art in general. Part III looks at the aesthetic and ethical consequences of the replacement of "beauty" with "art" in Kant's Third Critique. Finally, part IV attempts to reconstruct an "archaeology" of modernism that paves the way for a renewed understanding of our postmodern condition.The essays : Art Was a Proper Name. Given the Richard Mutt Case. The Readymade and the Tube of Paint. The Monochrome and the Blank Canvas. Kant after Duchamp. Do Whatever. Archaeology of Pure Modernism. Archaeology of Practical Modernism.

本书运用优美的语言和精致的图片描绘了世界著名版画艺术家埃舍尔的生平、创作以及他对版画艺术的理解。埃舍尔的许多版画都源于悖论、幻觉和双重意义。自相缠绕的怪圈是他作品中经常出现的一个主题。他努力追求图景的完备而不顾它们的不一致性，或者说让那些不可能同时在场者同时出场。借此他创造了一个颇具魅力的“不可能世界”。埃舍尔对“不可能世界”的营造极其成功，使他在世界各地拥有众多的崇拜者，其中包括很多知名科学家，比如诺贝尔奖得主李政道就非常欣赏埃舍尔的艺术作品。