George W. Bush and the Redemptive Dream


Book Description

George W. Bush remains a highly controversial figure, a man for whom millions of Americans have very strong feelings. Dan McAdams' book offers an astute psychological portrait of Bush, one of the first biographies to appear since he left office as well as the first to draw systematically from personality science to analyze his life. McAdams, an international leader in personality psychology and the narrative study of lives, focuses on several key events in Bush's life, such as the death of his sister at age 7, his commitment to sobriety on his 40th birthday, and his reaction to the terrorist attacks of September 11, and his decision to invade Iraq. He sheds light on Bush's life goals, the story he constructed to make sense of his life, and the psychological dynamics that account for his behavior. Although there are many popular biographies of George W. Bush, McAdams' is the first true psychological analysis based on established theories and the latest research. Short and focused, written in an engaging style, this book offers a truly penetrating look at our forty-third president.




Alice Neel


Book Description

Alice Neel (1900-1984) is widely considered one of the greatest portraitists of the twentieth century. Published on the occasion of a solo exhibition at David Zwirner, New York, this beautifully designed book presents a selection of portraits and still lifes from the last two decades of the artist's life. Called "the pre-eminent painter-chronicler of New York bohemia" by Deborah Solomon of The New York Times, Neel remains a hero to many of today's most influential figurative painters, including Eric Fischl, Elizabeth Peyton and Marlene Dumas--as much for the emotional and psychological intensity of her work as for her exemplary fearlessness.




Portraits of Old Russia


Book Description

This book introduces readers to a little-known place and time in world history – early modern Russia, from its beginnings as Muscovy, in the fourteenth century, through the reign of Peter I (1689-1725) – by portraying the lives of representative individuals from the major levels of the society of that era. The portraits, written by professional historians, are imaginative reconstructions or composites of individual lives, rather than biographies. The portraits are arranged into socio-political categories, and include members of ruling families, government servitors, clerks, military personnel, church prelates, monks, provincial landowners, townspeople and artisans, Siberian explorers and traders, free peasants, serfs, slaves and holy fools. Using these portraits, the book brings old Russian society to life in an interesting way.




Living Images


Book Description

The haunting funerary paintings on wood coffins found in Roman Egypt still represent some of the most vivid images that come to us from the ancient world. These paintings were first discovered by Flinders Petrie, father of modern archaeology, in his excavations in the Egyptian Fayum during the 1880s and have rested at University College London for over 100 years. Now, the Petrie Museum is bringing this corpus of paintings to the public in a stunning catalog. Living Images is a beautiful and authoritative presentation of the restored collection that will be an essential reference for scholars and a fascinating read for general audiences. Central to the volume is a complete catalog of the mummy portraits uncovered by Petrie, including full color illustrations and descriptions of technical and stylistic features and iconographic characteristics. To add to the value of the volume, articles describe the process of finding the mummies, explain the place of funerary assemblages in the history of Egyptian burial customs, offer an introduction to Egyptian portrait painting, and explain the conservation issues presented by the coffins. Petrie�s own reflections on his finds are also included. The volume is dedicated to the memory of Egyptologist Barbara Adams and co-sponsored by the Petrie Museum.




What Do Pictures Want?


Book Description

Why do we have such extraordinarily powerful responses toward the images and pictures we see in everyday life? Why do we behave as if pictures were alive, possessing the power to influence us, to demand things from us, to persuade us, seduce us, or even lead us astray? According to W. J. T. Mitchell, we need to reckon with images not just as inert objects that convey meaning but as animated beings with desires, needs, appetites, demands, and drives of their own. What Do Pictures Want? explores this idea and highlights Mitchell's innovative and profoundly influential thinking on picture theory and the lives and loves of images. Ranging across the visual arts, literature, and mass media, Mitchell applies characteristically brilliant and wry analyses to Byzantine icons and cyberpunk films, racial stereotypes and public monuments, ancient idols and modern clones, offensive images and found objects, American photography and aboriginal painting. Opening new vistas in iconology and the emergent field of visual culture, he also considers the importance of Dolly the Sheep—who, as a clone, fulfills the ancient dream of creating a living image—and the destruction of the World Trade Center on 9/11, which, among other things, signifies a new and virulent form of iconoclasm. What Do Pictures Want? offers an immensely rich and suggestive account of the interplay between the visible and the readable. A work by one of our leading theorists of visual representation, it will be a touchstone for art historians, literary critics, anthropologists, and philosophers alike. “A treasury of episodes—generally overlooked by art history and visual studies—that turn on images that ‘walk by themselves’ and exert their own power over the living.”—Norman Bryson, Artforum




Pictures of People


Book Description

A vibrant chronicle of the life and work of a prolific painter and bohemian eccentric.




Portraits of Pioneers in Psychology


Book Description

This third volume in a series devoted to luminaries in the history of psychology--features chapter authors who are themselves highly visible and eminent scholars. They provide glimpses of the giants who shaped modern cognitive and behavioral science, and shed new light on their contributions and personalities, often with a touch of humor or whimsy and with fresh personal insights. The animated style, carefully selected details, and lively perspective make the people, ideas, and controversies in the history of psychology come alive. The fields touched on in this and other volumes cover all of the subfields of psychology. As such, all volumes of Portraits of Pioneers in Psychology will be of interest to psychologists, as well as scholars in related fields. The resourceful teacher could use a selection of chapters as supplementary readings to enhance almost any course in the discipline. The major purpose of these books is to provide source materials for students and their teachers in undergraduate and graduate courses in the history of psychology. Each of the five volumes in this series contains different profiles thereby bringing more than 100 of the pioneers in psychology more vividly to life.




Experimental Self-Portraits in Early French Photography


Book Description

This book explores a range of experimental self-portraits made in France between 1840 and 1870, including remarkable images by Hippolyte Bayard, Nadar, Duchenne de Boulogne, and Countess de Castiglione. Adapting photography for different social purposes, each of these pioneers showcased their own body as a living artifact and iconic attraction. Jillian Lerner considers performative portraits that exhibit uncanny transformations of identity and embodiment. She highlights the tactical importance of photographic demonstrations, promotions, conversations, and the mongrel forms of montage, painted photographs, and captioned specimens. The author shows how photographic practices are mobilized in diverse cultural contexts and enmeshed with the histories of art, science, publicity, urban spectacle, and private life in nineteenth-century France. Tracing calculated and creative approaches to a new medium, this research also contributes to an archaeology of the present. It furnishes a prehistory of the "selfie" and offers historical perspectives on the forces that reshape human perception and social experience. This interdisciplinary study will appeal to readers interested in the history of photography, art, visual culture, and media studies.




Lives of Fair and Gallant Ladies


Book Description

And now we find seated on the throne of France a young Monarch of a strange, wild, unattractive exterior. His eye is pale, colourless and shifty, seeming to be void of all expression. He trusts no man, and has no real assurance of his power as Sovereign; he looks long and suspiciously at those about him before speaking, rarely bestows his confidence and believes himself constantly surrounded by spies. 'Tis a nervous, timid child,—'tis Charles IX. History treats him with an extreme severity; and the "St. Bartholomew" has thrown a lurid light over this unhappy Prince's figure. He allowed the massacres on the fatal nights of the 24th and 25th of August, and even shot down the flying Protestants from his palace roof. Without going into the interminable discussions of historians as to this last alleged fact, which is as strongly denied by some authorities as it is maintained by others, I am not one of those who say hard things of Charles IX. It is more a sentiment of pity I feel for him,—this monarch who loved Brantôme and Marot, and who protected Henri IV. against Catherine de Medici. I see him surrounded by brothers whom he had learned to distrust. The Due d'Alençon is on the spot, a legitimate object of detestation by reason of the subterranean intrigues he is for ever hatching against his person; while his other brother Henri (afterwards Henri III.), Catherine's favourite son, is in Poland, kept sedulously informed of every variation in the Prince's always feeble health, waiting impatiently for the hour when he must hurry back to France to secure the crown he covets. Then his sister's vicious outbreaks are a source of constant pain and anxiety to him; and last but not least there is his mother Catherine de Medici, an incubus that crushed out his very life-breath. He cannot forget the tortures his brother Francis suffered from his mysterious malady, and his premature death after a single year's reign. Catherine hated Mary Stuart, his young Queen, whose only fault was to have exaggerated in herself all the frailties together with all the physical perfections of a woman; and dreadful words had been whispered with bated breath about the Queen Mother. An Italian, deprived of all power while her husband lived, insulted by a proud and beautiful favourite, yet knowing herself well fitted for command, she had brought up her children with ideas of respect and submission to her will they were never able to throw off. The ill-will she bore her daughter-in-law was the cause of all those accusations History has listened to over readily. But Charles, a nervous, affectionate child, whose natural impulses however had been chilled by his mother's influence and the indifference of his father Henri II., was thrown back on himself, and grew up timid, suspicious and morose. The frantic love of Francis for his fascinating Queen, the cold dignity of Catherine in face of slights and cruel mortifications, her bitter disappointment during her eldest son's reign, her Italian origin (held then even more than now to imply an implacable determination to avenge all injuries), her indifference to the sudden and appalling death of the young King, the insinuations of her enemies,—all combined to make a profound impression on Charles, giving a furtive and, if we may say so, a haggard bent to his character. Presently, seated on the throne of France, Huguenots and Catholics all about him, exposed to the insults and pretensions of the Guise faction on the one hand and that of Coligny on the other, dragged now this way now that between the two, yet all the while instinctively drawn toward the Catholic side by ancestral faith and his mother's counsels no less than by reasons of state, Charles signed the fatal order authorizing the Massacre of the Saint Bartholomew.