中国的木刻版画是有悠久光荣的历史的，留下来的遗产也非常丰富。本书中的这些古版画以明代刻本为主，间附清刻，除了具有高度的艺术性之外，往件还记录了一些当代社会风俗的面影，从人民的日常生活，到具体的名物，以至社会面貌，时代风习，无处不使人感到美……本书是除了古代实物以外，最好的历史学习的参考图谱。
这些古版画除了具有高度的艺术性之外，往往还记录了一些当代社会风俗的面影。通过画面，不独使人感到美，还能使人得到很多知识。从人民的日常生活，到具体的名物，以至社会面貌，时代风习，往往都能通过古书的插图得到实证。这实在是除了古代实物以外，最好的历史学习的参考图谱。

本书是陆灏“近年杂览闲读所写的读书笔记”，里面充满了这类有趣的中西文史资料，甚至直接就是由“文化八卦”组成的小品，读来让人甚生愉悦——按照“知趣相得”的信条，读书就不妨像陆灏那样。
在本书中，你可以读到：钱钟书和杨绛曾怎样捉弄傅雷，潘光旦巧译希腊美臀爱神名字等谐谑故事，牛郎织女神话经过什么样的解构，赵孟頫代夫人写信到末尾，竟顺笔署了自己的名，《洛丽塔》电影中文译名“一树梨花压海棠”的出处，福尔摩斯是不是以王尔德为模特，西方不少著名文人学者如何不爱惜书籍甚至以毁书为乐，《花花公子》原来刊登过好些文学名家应约写的严肃作品……都是一些妙趣横生、幽趣别具的小文章。

一本幽默另类却又实话实说的作品。
这本书回答了如下这类的问题：
作家们是否可以写出活生生的作品？——极少。
我是不是必须买我朋友新出的书？——不是，但你应该。
我是否考虑让自己猝死，可以使我的书大卖？——绝对是。
书中还会解释：
为什么对出版业最大的危害是作家数量的激增？
为什么书籍是推销自己的最理想途径？
为什么图书馆要处理掉越来越多的书？
……
不仅展示了书的历史，
还给出了包括写作、出版、销售、评论、收藏在内的图书业的“真相”。

What a sketch is for the painter is a Polaroid for the photographer, namely the first formulation of a concept, the raw material of the imagination, as it were. When Helmut Newton published a selection of his Polaroids in Pola Woman in 1992, the subculture called it a stroke of genius. It was the first time that the master let people look directly over his shoulder. We became witnesses to the magic and often intense process by which erotic fantasies become finished images; the preliminary stages of a perfectly styled Newton photograph. It is remarkable, if not astonishing, that even this "raw material" possesses very original qualities and a charm of its own.

"When I do my work and I am exposed to the suffering of others - their loss or, at times their death - I feel I am serving as a witness; that is my role and responsibility to create a record for our collective memory. Part of this, I believe, has to do with notions of accountability. Perhaps it is only in their moment of suffering that these people will be noticed, and noticing erases our excuse of saying one day that we did not know. But I also feel that it is in this very delicate and fragile space that surrounds death, the space that I sometimes have both the privilege and the burden of entering, there exists the possibility of an encounter with the other in a way that goes beyond words and culture and differences . It is about being exposed for a moment in front of each other and in front of the act and mystery of dying. In that moment I feel I am looking at something that I can't completely see but that is looking at me. It is in this exchange that something simultaneously universal and deeply intimate can be found; in the death of the other there is a loss that belongs to everyone." -Paolo Pellegrin
Format: Hardcover
Pages: 140
Size: 24,4 x 30,4 x 1,6cm
Publisher: Dewi Lewis Publishing
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Over the past fifteen years Beijing has experienced unprecedented change–a change more dramatic and profound than ever before. Contemporary skyscrapers and architectural forms are gradually enclosing the historic city centre. Steel and glass structures, constructions reminiscent of distant metropolises, highways, viaducts, and sports facilities have given Beijing a new face. Speed, combined with ever-changing rules and regulations, are the main characteristics of contemporary Beijing’s transformation. Understanding this process means arranging intermediate and transitional phases into a logical sequence, in a historical and urban context of reference. The speed at which the city is changing means that the work site phase and the actual moment of transformation have become an integral part of project elaboration, thereby influencing and modifying its development. This state of sudden and seemingly chaotic evolution is nonetheless supported by an urban structure dating back thousands of years and by a well-defined past. It is essential to understand this in order to identify the continuity in the midst of change, which in itself seems to be the real essence of the city’s evolution.

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La légende raconte que Cimabue aurait découvert Giotto di Bondone, fils de paysan, au moment où il dessinait les brebis de son troupeau sur les rochers... Curieux itinéraire pour cet artiste à cheval entre les XIII et XIVe siècles. Rien n'est moins sûr que cette douce légende, mais peu importe. Il n'en reste pas moins vrai que Giotto a été le rénovateur, en son temps, de la peinture occidentale, qu'il tourna résolument du côté du réalisme, se détachant du hiératisme byzantin. Un espace en trois dimensions qui rend compte du mouvement des personnages, un travail sur la lumière, sur la couleur. Ce Giotto, (auparavant paru aux éditions Citadelles et Mazenod et présenté dans une nouvelle traduction du texte révisé), retrace justement le parcours artistique de l'homme dans sa chronologie. Les scènes de la vie de saint François à Assise, les œuvres pour la basilique Sant'Antonio de Padoue, celles de l'église Santa Croce à Florence... des années de formation à la maturité bien affirmée. Autant d'œuvres qui révèlent tout le sens de la lumière et de l'emploi des couleurs chez Giotto. Dans les démons chassés, des monstres colorés s'envolent au-dessus des toits représentés en cascade, dans L'Assomption de saint Jean l'évangéliste, il habille ses modèles de teintes roses ; dans le polyptyque Baroncelli, il atténue l'effet du clair-obscur pour rendre la légèreté de ses personnages... La force de Giotto réside justement dans l'impression de vie laissée au spectateur, dans la variation des couleurs tendres, des chromatismes clairs. Embrassant la vie et l'œuvre de l'artiste, cet ouvrage largement illustré, fidèle aux couleurs des œuvres, rend compte des dernières restaurations. C'est assurément un plaisir émotionnel qui s'ajoute. --Céline Darner
Présentation de l'éditeur
Giotto (1266 ou 1267-1337) était, de son vivant déjà, perçu comme le refondateur de la peinture occidentale. Il est aujourd'hui considéré comme le véritable fondateur de la peinture moderne. C'est lui, en effet, qui s'est affranchi le premier du hiératisme byzantin, qui a introduit dans ses fresques l'espace à trois dimensions, qui a conféré le mouvement à ses personnages, qui a unifié l'éclairage des scènes et a véritablement innové dans l'emploi des couleurs.
Après avoir été l'élève de Cimabue, il a notamment participé aux décorations de la basilique Saint-François à Assise, de la chapelle Scrovegni à Padoue et de l'église Santa Croce à Florence. Toutes ses oeuvres ont profondément influencé les générations de peintres qui lui ont succédé. Cet ouvrage reprend chronologiquement le cheminement créateur du peintre. Il réunit une documentation iconographique complète (fresques, croix peintes, mosaïques, etc.) qui tient compte des attributions et des restaurations les plus récentes.

In this, Ralph Gibson's 30th monograph, books themselves have become objects of fascination, examination, and veneration. From the early days of ancient Roman stone carvings to the revolutionary printing of the Gutenberg Bible through today's explosion of information on the Internet, Ex Libris chronicles the written record, offering a new interpretation of the signs, letter forms, shapes, and images used to document human history. Features images from the world's greatest book collections and libraries, including the Bibliotheque Nationale in Paris; the British Museum; the New York Public Library; the Pierpont Morgan Library; and the Cairo Museum.

The works of the late Victorian painter Alma Tadema have recently enjoyed a revived interest. This second volume in the Getty Museum Studies on Art focuses on Spring, one of Tadema's most renowned paintings. The book is lavishly illustrated and includes details of the painting, a history,
and an analysis focusing on sources, composition, and symbolism.

Considered Goya's most brilliant work, this collection combines corrosive satire and exquisite technique to depict 18th-century Spain as a nation of grotesque monsters sprung up in the absence of reason. 80 plates, Prado manuscript included.

《微笑的异端-影像中的胡适》主要内容：胡适（1891～1962），原名胡洪（马辛）、嗣糜、字希疆，后改名适，字适之，安徽绩溪人。现代学者，历史学、文学家，哲学家。以倡导“五四”文学革命著闻于世。历任北京大学教授、北京大学校长、台湾中央研究院院长等。胡适是我们这个国度的异端，但却是微笑的异端。在焦虑的年月，他还能保持一种平静的美，以大爱的心照着惨淡的夜，不惜四处碰壁，依然笑对世界，不是所有的人都能做到的。

A beautiful collection of photographs that capture the immensity and vulnerability of the vast geographical region encompassed by the state of Alaska. Accompanying text by Alaskan writer Nick Jans is evocative and informative.

For Edvard Munch (1863-1944), painting was an act of self-liberation. His treatments of fear, desperation, and death still exert a powerful visual and psychological effect on modern viewers. Of all Munch's paintings, "The Scream" (1893), representing a figure tortured by horror, is the most well-known-and certainly one of the most expressive. The artist reflected his innermost feelings in his work: "In reality, my art is a free confession, an attempt to clarify to myself my own relation to life..." Although Edvard Munch cannot be clearly identified with any single movement, he is deemed a pioneer of Expressionism. Every book in TASCHEN's "Basic Art Series" features: a detailed chronological summary of the artist's life and work, covering the cultural and historical importance of the artist; approximately 100 color illustrations with explanatory captions; and a concise biography.