Bollingen

A study of the analogies between alchemy, Christian dogma, and psychological symbolism. Revised translation, with new bibliography and index. "Readers . . . who believe that medieval and early modern alchemy was only a misguided effort to transform base metals into gold, or at best a crude preparation for scientific chemistry, will experience a great and probably bewildering surprise."

Erich Neumann was born in Berlin in 1905. A student of C. G. Jung, he practiced analytical psychology in Tel Aviv from 1934 until his death in 1960. Among his other works in Princeton's Bollingen Series are Amor and Psyche: The Psychic Development of the Feminine, The Origins and History of Consciousness, The Great Mother: An Analysis of the Archetype, and The Archetypal World of Henry Moore. These essays by the famous analytical psychologist and student of creativity Erich Neumann belong in the context of the depth psychology of culture and reveal a prescient concern about the one-sidedness of patriarchal Western civilization. Neumann recommended a "cultural therapy" that he thought would redress a "fundamental ignorance" about feminine and masculine psychology, and he looked for societal healing to a "matriarchal consciousness" that forms the bridge between the feminine and the creative. Brought together here for the first time, the essays in the book discuss the psychological stages of woman's development, the moon and matriarchal consciousness, Mozart's Magic Flute, the meaning of the earth archetype for modern times, and the fear of the feminine. In Mozart's fantastic world, Neumann saw a true Auseinandersetzung--the conflict and coming-to-terms with each other of the matriarchal and the patriarchal worlds. Developing such a synthesis of the feminine and the masculine in the psychic reality of the individual and of the collective was, he argued, one of the fundamental, future-oriented tasks of both the society and the individual.

Four essays on the psychological aspects of art. A study of Leonardo treats the work of art, and art itself, not as ends in themselves, but rather as instruments of the artist's inner situation. Two other essays discuss the relation of art to its epoch and specifically the relation of modern art to our own time. An essay on Chagall views this artist in the context of the problems explored in the other studies.

Alexander Nemerov is the Carl and Marilynn Thoma Provostial Professor in the Arts and Humanities at Stanford University. His many books include Fierce Poise: Helen Frankenthaler and 1950s New York and Soulmaker: The Times of Lewis Hine (Princeton). A vivid historical imagining of life in the early United States "One of the richest books ever to come my way."-Annie Proulx, Pulitzer Prize–winning author of The Shipping News "This is a wonderful book. . . . An extraordinary achievement."-Edmund de Waal, New York Times bestselling author of The Hare with Amber Eyes Set amid the glimmering lakes and disappearing forests of the early United States, The Forest imagines how a wide variety of Americans experienced their lives. Part truth, part fiction, and featuring both real and invented characters, the book follows painters, poets, enslaved people, farmers, and artisans living and working in a world still made largely of wood. Some of the historical characters-such as Thomas Cole, Margaret Fuller, Nathaniel Hawthorne, Fanny Kemble, Edgar Allan Poe, and Nat Turner-are well-known, while others are not. But all are creators of private and grand designs. The Forest unfolds in brief stories. Each episode reveals an intricate lost world. Characters cross paths or go their own ways, each striving for something different but together forming a pattern of life. For Alexander Nemerov, the forest is a description of American society, the dense and discontinuous woods of nation, the foliating thoughts of different people, each with their separate shade and sun. Through vivid descriptions of the people, sights, smells, and sounds of Jacksonian America, illustrated with paintings, prints, and photographs, The Forest brings American history to life on a human scale. Published in association with the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC "For each scene, {Alexander Nemerov} seems to have asked himself not merely how things would have looked in the 1830s but also how they would have sounded, felt, tasted and smelled. The Forest is easily one of the most pungent books I've read, an encyclopedia of vintage odors. . . . After you've read this book, most other cultural histories will seem as stale as the straw on the floor."---Jackson Arn, Wall Street Journal "This vibrant collection liberally envisions America's early cultural life through its forests, from Nathaniel Hawthorne, for whom trees were 'arbors of thought,' to Nat Turner, who planned his rebellion while secluded in the woods." "I really wish I'd written this book. The Forest is what one might dubiously call 'a nonfiction novel,' taking as it does the lives, both real and imagined, of multiple early inhabitants of America's great forests-artists, tradesmen, farmers, poets, enslaved people-and turning them into fictionalized episodes. . . . This is history imagined as ecology."---Jonny Diamond, Literary Hub "{A} beguiling study of American intellectual and cultural life two centuries ago at the places where forests and civilization met." "Alexander Nemerov . . . brings {an} unruly and uncanny world to life in his new book, The Forest. Neither history nor fiction, the book unspools over dozens of gem-like stories of man's last real encounters with these ancient forests: Nat Turner's woodland hiding place, the inscription of the Cherokee language both on trail trees and on paper, Harriet Tubman's view of the Leonid meteor shower, the painter Thomas Cole's top hat of felted-beaver fur."---Stephanie Bastek, Smarty Pants podcast "{In} The Forest, readers have a chance to walk through the woods of the early 1800s-and discover that the often contradictory ways we relate to nature now have been with us at least since then. . . . {The book} peers closely at the art of the period in order to better capture how people then felt, thought and dreamed about themselves and the land."---Kiley Bense, I

This book provides a very accessible general introduction to the Jungian concept of ego development and Jung's theory of personality structure--the collective unconscious, anima, animus, shadow, archetypes. "The book is written from a rich store of knowledge and experience, and can claim a distinctive place among its several predecessors. The author's main objective in marshalling her material is a plea for the development of the consciousness, not only for the purpose of achieving a fuller life but also as an ethical task." "A study [that] expound[s] Jung's ideas in the simplest possible way.... The book is written from a rich store of knowledge and experience, and can claim a distinctive place among its several predecessors. The author's main objective in marshalling her material is a plea for the development of consciousness, not only for achieving a fuller life but also as an ethical task.... [This] is a stimulating book."

How artists created an aesthetic of "positive barbarism" in a world devastated by World War II, the Holocaust, and the atomic bomb In Brutal Aesthetics, leading art historian Hal Foster explores how postwar artists and writers searched for a new foundation of culture after the massive devastation of World War II, the Holocaust, and the atomic bomb. Inspired by the notion that modernist art can teach us how to survive a civilization become barbaric, Foster examines the various ways that key figures from the early 1940s to the early 1960s sought to develop a "brutal aesthetics" adequate to the destruction around them. With a focus on the philosopher Georges Bataille, the painters Jean Dubuffet and Asger Jorn, and the sculptors Eduardo Paolozzi and Claes Oldenburg, Foster investigates a manifold move to strip art down, or to reveal it as already bare, in order to begin again. What does Bataille seek in the prehistoric cave paintings of Lascaux? How does Dubuffet imagine an art brut, an art unscathed by culture? Why does Jorn populate his paintings with "human animals"? What does Paolozzi see in his monstrous figures assembled from industrial debris? And why does Oldenburg remake everyday products from urban scrap? A study of artistic practices made desperate by a world in crisis, Brutal Aesthetics is an intriguing account of a difficult era in twentieth-century culture, one that has important implications for our own. Published in association with the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC Please note: All images in this ebook are presented in black and white and have been reduced in size. Hal Foster is the Townsend Martin, Class of 1917, Professor of Art and Archaeology at Princeton University and the author of many books, including The First Pop Age (Princeton). A member of the American Academy of Arts and Sciences, he writes regularly for October, the London Review of Books, and Artforum. "Hal Foster moves-often in a single quickening sentence-from the specific work of art to the forces that shape our ways of seeing, illuminating both, opening up new modes of thought and filiation. His books are never far from me."-Ben Lerner, author of The Topeka School "At the most opportune time, Foster undertakes a reconsideration of barbarism as it was reinvented in the visual arts of the mid-twentieth century. Not only does he excavate a crucial post–World War II tendency that has evaded systematic comparative interpretation, but he also sheds light on the political aporias of our present."-David Joselit, author of After Art "In Brutal Aesthetics, Hal Foster discerns an array of common strategies in the work of a heterogeneous group of postwar thinkers and artists, diagnosing their equivocal attitude toward the world at large, but also toward history and thus tradition, as 'positive barbarism.' Foster is a brilliant synthesizer who draws maps that forever change the contours of the territory."-Yve-Alain Bois, Institute for Advanced Study "Eloquent. . . . Substantially rewarding both in historical detail and theoretical reference."---Joseph Nechvatal, Brooklyn Rail "Hal Foster's research sets the figures in context, compares them in an original way and skilfully manages to identify common aspects of their work. For those interested in modern art, intellectual history and politics of the cold war era, this book comes strongly recommended."---Christian Kile, Sehepunkte "In Brutal Aesthetics, Hal Foster compellingly investigates the complex dichotomies that inherently exist within brutalist art theory of the postwar period. Through the lens of five iconic figures and the transformative nature of their respective disciplines, Foster provides substantial evidence for such an examination and lays the foundation for this essential contribution to the literature around the subject. Covering an historically pivotal turning point in Western

A study of the primitive and unconscious aspects of man's nature and the processes by which their energies may contribute to the integration of personality. New edition, comprehensively revised and enlarged, with many new illustrations. "Dr. Harding's book is one of the best expositions of Jung's psychology. She has succeeded well in making Jung less baffling and in destroying the frequently heard claim that he is inscrutable. The book is carefully and beautifully edited, as are all publications of the Bollingen Foundation." "[This is] a sweeping psychological study, based on Jung, and a fascinating presentation that runs through mythologies, Yoga, alchemy and on down to modern religious practice."

From a leading art historian of Renaissance Italy, a compelling account of the artistic and cultural impact of the sack of sixteenth-century Rome In this illustrated account of the sack of Rome as a cultural and artistic phenomenon, André Chastel reveals the historical ambiguities of preceding events and the traumatic contrast between the flourishing world of art under Pope Clement VII and the city after it was looted by the troops of Emperor Charles V in 1527. Chastel illuminates the cultural repercussions of the humiliation of Rome, emphasizing the spread or "Europeanization" of the Mannerist style by artists who fled the city-including Parmigianino, Rosso, Polidoro, Peruzzi, and Perino del Vaga. At the same time, Clement's critics used the new media of printing and engraving to win over the people with caricatures and satirical writings, while Rome responded with monumental works affirming the legitimacy of the pope's temporal power. Chastel explores both the world that was lost by the sack and the great works of art created during Rome's recovery. André Chastel (1912–1990) was professor of the art and civilization of Renaissance Italy at the Collège de France.

A groundbreaking reevaluation of paleolithic art through the lens of modernism, from the acclaimed historian of art and architecture In The Beginnings of Art, Sigfried Giedion, best known as a historian of architecture, shifts his attention to art and its very origins. Breaking with an earlier, materialistic approach, he explores paleolithic art by bringing abstraction, transparency, and simultaneity into play as modern art has revealed them anew. Focusing on the dual concepts of constancy and change, he examines paleolithic paintings, engravings, and sculpture, as well as modern art and recent examples of "primitive art." He argues that the two keys to the meaning of prehistoric art are the symbol, portraying reality before reality exists, and the animal as humankind's superior in the unified primordial world in which both human and animal were embedded. The result is a highly original and important study of prehistoric art. Sigfried Giedion (1888–1968) was an eminent critic and historian of architecture and art who had a major influence on architectural modernism. His books include Space, Time, and Architecture and Mechanization Takes Command. He taught at the Massachusetts Institute of Technology, Harvard University, and ETH Zurich.

Unique perspectives from an acclaimed art historian on the relationship between drawing and painting From Drawing to Painting interweaves biographical information about five renowned French artists-Nicolas Poussin, Antoine Watteau, Jean-Honoré Fragonard, Jacques-Louis David, and Jean-Auguste-Dominique Ingres-with a fascinating look at dozens of their drawings and the links that they have to their paintings. This book explores drawing as a site of reflection, the space between the idea of a painted image and its realization on canvas. How, why, and for whom did these artists draw? What value did they place on their drawings? How did their drawings get handed down to us? In what way do they enable us better to understand the artists' intentions, their creative processes, and to penetrate their worlds? Pierre Rosenberg determines that each artist approached drawing in a distinctive way, reflecting his individual training, work habits, and personal ambitions. For example, Poussin viewed his drawings simply as working documents, Watteau preferred his drawings to his paintings, and Fragonard made a lucrative business selling his graphic work. For David and Ingres, drawing had a considerable pedagogical function, whether in copying the great works of their predecessors or in sharpening their own techniques. From Drawing to Painting Offers an unprecedented view of the artistic process, and makes an important and beautiful addition to any art library. Please note: All images in this ebook are presented in black and white and have been reduced in size. Pierre Rosenberg is honorary president of the Musée du Louvre in Paris, where he was director from 1994 to 2001. A member of the Académie Française, he has published extensively on painting and drawing of the seventeenth and eighteenth centuries and has organized numerous exhibitions throughout the world. His books include Only in America and Chardin. "[A] wonderful, charming and witty book. . . . The scholarship is personable and engaging, yet unobtrusive. A book for everyone, and a model of the unity, and expansiveness, of the art historical enterprise." "Beginning with a general introduction to the background and style of each artist's work, Rosenberg discusses what the drawings meant to each artist, who collected them, how drawings fit into the practice of the creation of paintings, and the tricky practice of attributing drawings." "Rosenberg poses in six chapters a series of basic questions on the nature, function, and connoisseurship of drawings. 'Basic' is, or course, a deceptive word, for the most basic questions can be the most challenging to answer. For general audiences, this book . . . is the equivalent of a tour with a patient guide through terrain that otherwise might be perceived as rarified or inhospitable. . . . For specialists, this volume of synthesis and reflection will prove a useful complement to the weighty compilations of fact and documentation in the catalogues raisonnes. . . . One can hope that younger scholars will be inspired to follow Rosenberg's example and give equal attention to drawing and painting as two sides of the same coin, as, of course, they are."---Perrin Stein, Master Drawings

The classic work by internationally acclaimed Cézanne scholar John Rewald In Cézanne and America, John Rewald presents a full account of how Paul Cézanne's reputation and influence became established in America between 1891 and 1921, and of how some of the world's largest collections of his works were formed in the United States. This is the fascinating story of enthusiastic young American artists who took up Cézanne's cause after they discovered him in Paris. It is also the story of the discerning early American collectors of his work-Leo and Gertrude Stein, the Havemeyers, and John Quinn, among others-many of whom made their first purchases from Cézanne's wily dealer Ambroise Vollard in Paris, or from the dealer Alfred Stieglitz in New York, and of the beginning of the famous collection of Dr. Albert C. Barnes. Each chapter is illustrated not only with Cézanne's works but also with portraits of collectors and critics and with previously unpublished pages from diaries, dealers' ledgers, and Cézanne's own correspondence. John Rewald (1912–1994) was Distinguished Professor of Art History at the City University of New York. His books include The History of Impressionism and Cézanne: A Biography.

A striking account of Vasari's career, friendships, and contribution to the art of the Italian Renaissance Vasari's Lives of the Most Excellent Architects, Painters, and Sculptors, first published in 1550, fixed for three hundred years general European views about the art of the Renaissance, and its influence still lingers today. While much has been written about Vasari's writings, comparatively few full-length studies have dealt with the man himself. In this book, T.S.R. Boase offers a compelling account of Vasari's life and career. At the same time, Boase explores Vasari's ideas about the art and artists he described in the two editions of his Lives, placing these reflections in their contemporary context and later developments in art history and criticism. The result is an important appraisal of Vasari's achievement, which despite its imperfections is without parallel in the history of Western art. T.S.R. Boase (1898–1974) was an eminent art historian and the author of many books. Over a long and distinguished career, he served as director of the Courtauld Institute, vice-chancellor of the University of Oxford, and president of Magdalen College, Oxford.

An incomparable look at how Chinese artists have used mass production to assemble exquisite objects from standardized parts Chinese workers in the third century BCE created seven thousand life-sized terracotta soldiers to guard the tomb of the First Emperor. In the eleventh century CE, Chinese builders constructed a pagoda from as many as thirty thousand separately carved wooden pieces. As these examples show, throughout history, Chinese artisans have produced works of art in astonishing quantities, and have done so without sacrificing quality, affordability, or speed of manufacture. In this book, Lothar Ledderose takes us on a remarkable tour of Chinese art and culture to explain how artists used complex systems of mass production to assemble extraordinary objects from standardized parts or modules. He reveals how these systems have deep roots in Chinese thought and reflect characteristically Chinese modes of social organization. Combining invaluable aesthetic and cultural insights with a rich variety of illustrations, Ten Thousand Things make a profound statement about Chinese art and society. Lothar Ledderose is senior professor at the Institute of East Asian Art History at Heidelberg University. An internationally renowned scholar of Chinese art and calligraphy, he has curated numerous exhibitions on Asian art, including Treasures from the Forbidden City (Berlin, Vienna 1985), The Terracotta Army (Dortmund 1991), Japan and Europe (Berlin 1993), and an exhibition of Chinese painting of the Ming and Qing dynasties (Baden-Baden 1985). His books include Mi Fu and the Classical Tradition of Chinese Calligraphy (Princeton). "Winner of the 2002 Joseph Levenson Book Prize for pre-1999 China" "A truly unique book to clarify the mind about what Chinese art is now and what it was." "[A] stimulating and provocative overview of the theme of creativity in Chinese art . . . This may be a book with a large and ambitious thesis, but it is also one very firmly grounded in specifics . . . illustrated with a richness and aptness which is rarely seen today . . . The clarity of exposition and the liveliness of the language makes each of the eight linked essays a pleasure to read on its own . . . The work deserves a wide readership."---Craig Clunas, Burlington Magazine "While the idea that traditional China can be defined by its production processes is not entirely new, only with Lothar Ledderose's Ten Thousand Things has that argument been made comprehensively, and in terms that fully engage the social and art historian . . . An excellent resource for the social and art history of China."---James A. Flath, Pacific Affairs "Ledderose's book, although written to be accessible to a nonspecialist reader, should have an equally impressive impact on scholars. . . . After reading it, one cannot but be excited about the future direction and possibilities of Chinese art history."---Nancy Shatzman Steinhardt, Journal of Asian Studies

An eminent literary biographer and critic shows how poetry enriched the art of two representative English Romantic painters In Visionary and Dreamer, David Cecil evokes the century of the poet-painter, when painting drew much of its inspiration from imaginative literature. Samuel Palmer (1805–1881), an unworldly visionary, obscure in his lifetime but now a recognized master, and Edward Burne-Jones (1833–1898), the Pre-Raphaelite daydreamer, once revered as a great painter but later admired chiefly for his work in applied art, emerge as artists who turned to their own inner lives to interpret Shakespeare, Milton, and Keats. David Cecil (1902–1986) was a literary historian and biographer and professor of English literature at the University of Oxford. He was the author of many books, including A Portrait of Jane Austen. "[Cecil] does more for both painters than simply recount their lives. He presents both the visionary and dreamer in the bright and captivating light of his own sympathy."

How social upheavals after the collapse of the French Empire shaped the lives and work of artists in early nineteenth-century Europe As the French Empire collapsed between 1812 and 1815, artists throughout Europe were left uncertain and adrift. The final abdication of Emperor Napoleon, clearing the way for a restored monarchy, profoundly unsettled prevailing national, religious, and social boundaries. In Restoration, Thomas Crow combines a sweeping view of European art centers-Rome, Paris, London, Madrid, Brussels, and Vienna-with a close-up look at pivotal artists, including Antonio Canova, Jacques-Louis David, Théodore Géricault, Francisco Goya, Jean-Auguste-Dominique Ingres, Thomas Lawrence, and forgotten but meteoric painters François-Joseph Navez and Antoine Jean-Baptiste Thomas. Whether directly or indirectly, all were joined in a newly international network, from which changing artistic priorities and possibilities emerged out of the ruins of the old. Crow examines how artists of this period faced dramatic circumstances, from political condemnation and difficult diplomatic missions to a catastrophic episode of climate change. Navigating ever-changing pressures, they invented creative ways of incorporating critical events and significant historical actors into fresh artistic works. Crow discusses, among many topics, David's art and influence during exile, Géricault's odyssey through outcast Rome, Ingres's drive to reconcile religious art with contemporary mentalities, the titled victors over Napoleon all sitting for portraits by Lawrence, and the campaign to restore art objects expropriated by the French from Italy, prefiguring the restitution controversies of our own time. Restoration explores how cataclysmic social and political transformations in nineteenth-century Europe reshaped artists' lives and careers with far-reaching consequences. Published in association with the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC Please note: All images in this ebook are presented in black and white and have been reduced in size. Thomas Crow is the Rosalie Solow Professor of Modern Art at the Institute of Fine Arts, New York University. His many books include Emulation: David, Drouais, and Girodet in the Art of Revolutionary France; The Long March of Pop: Art, Music, and Design 1930–1995; No Idols: The Missing Theology of Art; and The Artist in the Counterculture: Bruce Conner to Mike Kelley and Other Tales from the Edge (Princeton). "A major scholarly achievement and an exhilarating read, Restoration provides an absorbing narrative about European art during and after the fall of the Napoleonic Empire. With a wealth of fresh interpretations, this extraordinarily wide-ranging, authoritative, and concise book gives us a new understanding of art under the Restoration as uniquely unstable, provisional, and mobile."-Bridget Alsdorf, Princeton University "This thrilling book offers an entirely fresh and compelling set of perspectives on some of the most important artists of the early nineteenth century. Fusing tightly structured analysis with rich and colorful descriptions, anecdotes, and observations and offering stunning interpretations of individual works, Restoration takes us on a stimulating art historical journey."-Mark Hallett, Paul Mellon Centre for Studies in British Art "Winner of the Silver Medal, Laura Shannon Prize in Contemporary European Studies, Nanovic Institute, University of Notre Dame" "[A] profoundly revealing and stimulating book."---Michael Prodger, Literary Review "The depth and breadth of [Crow's] learning is stupendous."---Tim Blanning, Art Newspaper "Restoration is a welcome addition to the literature on art after the collapse of the French Empire."---A. L. Palmer, Choice Reviews

The first book to put the sacred and sensuous bronze statues from India's Chola dynasty in social context From the ninth through the thirteenth century, the Chola dynasty of southern India produced thousands of statues of Hindu deities, whose physical perfection was meant to reflect spiritual beauty and divine transcendence. During festivals, these bronze sculptures-including Shiva, referred to in a saintly vision as "the thief who stole my heart"-were adorned with jewels and flowers and paraded through towns as active participants in Chola worship. In this richly illustrated book, leading art historian Vidya Dehejia introduces the bronzes within the full context of Chola history, culture, and religion. In doing so, she brings the bronzes and Chola society to life before our very eyes. Dehejia presents the bronzes as material objects that interacted in meaningful ways with the people and practices of their era. Describing the role of the statues in everyday activities, she reveals not only the importance of the bronzes for the empire, but also little-known facets of Chola life. She considers the source of the copper and jewels used for the deities, proposing that the need for such resources may have influenced the Chola empire's political engagement with Sri Lanka. She also investigates the role of women patrons in bronze commissions and discusses the vast public records, many appearing here in translation for the first time, inscribed on temple walls. From the Cholas' religious customs to their agriculture, politics, and even food, The Thief Who Stole My Heart offers an expansive and complete immersion in a community still accessible to us through its exquisite sacred art. Published in association with the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC Please note: All images in this ebook are presented in black and white and have been reduced in size. Vidya Dehejia is the Barbara Stoler Miller Professor of Indian and South Asian Art at Columbia University. Her many books include The Unfinished: Stone Carvers at Work on the Indian Subcontinent and The Sensuous and the Sacred: Chola Bronzes from South India. "The Thief Who Stole My Heart is an art historical masterpiece that transforms our appreciation of some of India's greatest sculptures. Combining deep research, close observation, and gorgeous prose, Dehejia brings to a triumphant climax her four decades of study in Indian art history. She presents a range of important new discoveries about Chola bronzes, and does so with a lightness of touch and poetic sensitivity that make this work both pleasurable and enlightening. This is an exquisite book about exquisite objects."-William Dalrymple, author of The Anarchy "This extraordinarily important book will make an enormous impact on art history and kindred disciplines. Drawing upon a wealth of inscriptional material, almost all of it never before published, Dehejia evokes a feeling for the temples and their bronzes as living, vital, functioning works, not just relics from the past."-Frederick M. Asher, University of Minnesota "With unparalleled scholarship, and lucid and engaging writing, Dehejia successfully places the Chola bronzes in their original ritual, productive, literary, political, social, and economic contexts. Through her skillful interweaving of these various strands, she has produced a wonderfully rich tapestry. This will stand as the authoritative work on Chola bronzes, and indeed Chola India, for a long time to come."-Phillip B. Wagoner, coauthor of Power, Memory, Architecture "The Thief Who Stole My Heart offers an expansive and complete immersion in a community still accessible to us through its exquisite sacred art."

The classic work on the sublime interplay between the arts and poetics This book explores the rich and complex relationship between art and poetry, shedding invaluable light on what makes each art form unique yet wholly interdependent. Jacques Maritain insists on the part played by the intellect as well as the imagination, showing how poetry has its source in the preconceptual activity of the rational mind. As Maritain argues, intellect is not merely logical and conceptual reason. Rather, it carries on an exceedingly more profound and obscure life, one that is revealed to us as we seek to penetrate the hidden recesses of poetic and artistic activity. Incisive and authoritative, this illuminating book is the product of a lifelong reflection on the meaning of artistic expression in all its varied forms. Jacques Maritain (1882–1973) was a leading French philosopher and the author of many books, including Art and Scholasticism, The Degrees of Knowledge, and Existence and the Existent. "Wisdom never makes the headlines, and I fear it will take a long time before the full stature of this book is recognized. The reader must take it slowly, learning to follow the lead of the author's patient, deep, and gentle spirit, which speaks on every page; then he will be rewarded with the most sane and subtle insights into the life of poetry which our time affords."-Francis Fergusson "[Creative Intuition in Art and Poetry] contains a wealth of concrete perception on the most varied aesthetic problems. It is impossible to do more than mention M. Maritain's beautifully balanced chapter on abstract art, his discussion of the difference between classical and modern poetic imagery, and the gentle irony with which he chides the over-zealousness of modern critics who use Dante to denigrate modern poetry. . . . It is a rare pleasure to read a work characterized by this habit of mind and this sensibility . . . the best attempt yet made to write a poetics of modern art."---Joseph Frank, New Republic

A magisterial exploration of poetry's place in the fine arts by one of the twentieth century's leading poets In this book, eminent poet Anthony Hecht explores the art of poetry and its relationship to the other fine arts. While the problems he treats entail both philosophic and theoretical discussion, he never allows abstract speculation to overshadow his delight in the written texts that he introduces, or in the specific examples of painting and music to which he refers. After discussing literature's links with painting and music, Hecht investigates the theme of paradise and wilderness, especially in Shakespeare's The Tempest. He then turns to the question of public and private art, exploring the ways in which all the arts participate in balances between private and public modes of discourse, and between an exclusive or elitist role and the openly political. Beginning with a discussion of architecture as an illustration of a more general theme of discord and balance, the penultimate lecture probes the inner contradictions of works of art and our reactions to them, while the final piece concerns art and morality. Anthony Hecht (1923–2004) was the John H. Deane Professor of Poetry and Rhetoric at the University of Rochester, and taught at Georgetown, Harvard, and Yale Universities. His books of poems include A Summoning of Stones, Millions of Strange Shadows, The Venetian Vespers, and the Pulitzer Prize–winning The Hard Hours. "Anthony Hecht is very much our poet-critic now, even as John Crowe Ransom and W. H. Auden were in previous generations. His On the Laws of the Poetic Art is civilized and superb criticism of the higher relations between poetry and the other arts, and is particularly valuable in this dark time, when barbarism and politics threaten all the arts."-Harold Bloom, Yale University "Civilized, charming, wise-Anthony Hecht's is an overview we hardly deserve and can only be grateful for."-James Merrill "Anthony Hecht's book speaks with that irresistible authority that comes only from a true artist who has spent a lifetime reflecting on his medium. And yet this profound and engaging volume is not only about poetry. It is a magisterial exploration of the nature of art itself."-Dana Gioia "Winner of the 1997 Tanning Prize for Lifetime Achievement, Academy of American Poets" "This book is full of fruitful and fascinating suggestions about our commerce with the variety of art, and the many worlds it inhabits."---John Bayley, The Times

An illuminating look at the iconography of the early church and its important place in the history of Christian art In this book, historian André Grabar demonstrates how early Christian iconography assimilated contemporary imagery of the time. Grabar looks at the most characteristic examples of paleo-Christian iconography, dwelling on their nature, form, and content. He explores the limits of originality in such art, its debt to figurative art, and the broader cultural climate in the Roman Empire, drawing a distinction between expressive images-that is, genuine works of art-and informative ones. Throughout, Grabar establishes the importance of imperial iconography in the development of Christian portraits and sheds light on the role they played alongside other forms of Christian piety in their day. André Grabar (1896–1990) was an internationally renowned historian of Byzantine and medieval art and a central figure at Dumbarton Oaks, the research institute of Harvard University in Washington, DC. His many books include Byzantine and Early Medieval Painting and Romanesque Painting from the Eleventh to the Thirteenth Century. "A major contribution to the history of Christianity and Europe." "Grabar considers his material with a wisdom and good sense all his own."---John Beckwith, Apollo "Packed with the observant scholarship for which the author has long been famous."---Cornelius C. Vermeule III, Classical World

A bold new interpretation of two northern Renaissance masters In this visually stunning and much anticipated book, acclaimed art historian Joseph Koerner casts the paintings of Hieronymus Bosch and Pieter Bruegel in a completely new light, revealing how the painting of everyday life was born from what seems its polar opposite: the depiction of an enemy hell-bent on destroying us. Supreme virtuoso of the bizarre, diabolic, and outlandish, Bosch embodies the phantasmagorical force of painting, while Bruegel, through his true-to-life landscapes and frank depictions of peasants, is the artistic avatar of the familiar and ordinary. But despite their differences, the works of these two artists are closely intertwined. Bruegel began his career imitating Bosch's fantasies, and it was Bosch who launched almost the whole repertoire of later genre painting. But Bosch depicts everyday life in order to reveal it as an alluring trap set by a metaphysical enemy at war with God, whereas Bruegel shows this enemy to be nothing but a humanly fabricated mask. Attending closely to the visual cunning of these two towering masters, Koerner uncovers art history's unexplored underside: the image itself as an enemy. An absorbing study of the dark paradoxes of human creativity, Bosch and Bruegel is also a timely account of how hatred can be converted into tolerance through the agency of art. It takes readers through all the major paintings, drawings, and prints of these two unforgettable artists-including Bosch's notoriously elusive Garden of Earthly Delights, which forms the core of this historical tour de force. Elegantly written and abundantly illustrated, the book is based on Koerner's A. W. Mellon Lectures in the Fine Arts, a series given annually at the National Gallery of Art, Washington. Published in association with the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC Please note: All images in this ebook are presented in black and white and have been reduced in size. Joseph Leo Koerner is the Victor S. Thomas Professor of the History of Art and Architecture and Senior Fellow of the Society of Fellows at Harvard University. His previous books include The Moment of Self-Portraiture in German Renaissance Art, The Reformation of the Image, and Caspar David Friedrich and the Subject of Landscape. "In this magisterial book, Joseph Koerner explores the role of Bosch and Bruegel in the great early modern shift of the ends of art from theological explanation to time-bound description, from being to picturing. Along the way, he offers a rich account of a newly global culture and a violently contested religious milieu where the status of images was itself an issue of life and death."-Susan Stewart, author of On Longing and The Poet's Freedom: A Notebook on Making "Bosch and Bruegel is a magnificent book-massively erudite, profoundly human, and sometimes even shatteringly poetic. Koerner is a marvelously compelling writer."-Claudia Swan, Northwestern University "A tremendous achievement. Koerner is one of the most gifted and intelligent art historians at work anywhere, as well as a remarkably fluent and resourceful stylist capable of presenting extremely subtle and persuasive readings in elegant and simple prose."-Michael Fried, author of The Moment of Caravaggio "Insightful and encyclopedic. Koerner renders fresh and thought-provoking paintings that have been seen and discussed for centuries."-Keith Moxey, author of Visual Time: The Image in History "Winner of the 2017 PROSE Award in Art History & Criticism, Association of American Publishers" "One of the Evening Standard Best Art Books of 2017 (chosen by David Ekserdijian)" "More gripping than a thriller. . . . A frightening, fascinating study. . . . It is rare, when reading a work of scholarly criticism, to be so gripped as to feel nervous about turning the page. Be warned: there are chapters here more frightening than a

Beginning with Jung's earliest correspondence to associates of the psychoanalytic period and ending shortly before his death, the 935 letters selected for these two volumes offer a running commentary on his creativity. The recipients of the letters include Mircea Eliade, Sigmund Freud, Esther Harding, James Joyce, Karl Kernyi, Erich Neumann, Maud Oakes, Herbert Read, Upton Sinclair, and Father Victor White. "Extraordinarily valuable.... Whether writing a disquisition on an obscure point of theology to Father Victor White or advice to an anonymous correspondent who wondered whether she should commit suicide...Jung commits himself entirely to the question and to the moment.... {The} Letters are indispensable and a beautiful production."---James Olney, The New Republic "What {Jung} offers from the furnace of his mind is near enough to that Philosopher's Stone sought by his old friends the alchemists to hold us enchanted through unnumbered re-readings."---Robertson Davies, The New York Times Book Review

A collection of journalistic interviews which span Jung's lifetime. This book captures his personality and spirit in more than 50 accounts of talks and meetings with him. They range from transcripts of interviews for radio, television, and film to memoirs written by notable personalities.

Stephen Scully is associate professor of classical studies at Boston University. George Chapman's translations of Homer--immortalized by Keats's sonnet-- are the most famous in the English language. Swinburne praised their "romantic and sometimes barbaric grandeur," their "freshness, strength, and inextinguishable fire." And the great critic George Saintsbury wrote, "For more than two centuries they were the resort of all who, unable to read Greek, wished to know what the Greek was. Chapman is far nearer Homer than any modern translator in any modern language." This volume presents the original text of Chapman's translation of the Homeric hymns. The hymns, believed to have been written not by Homer himself but by followers who emulated his style, are poems written to the gods and goddesses of the ancient Greek pantheon. The collection, originally titled by Chapman "The Crowne of all Homers Workes," also includes epigrams and poems attributed to Homer and known as "The Lesser Homerica," as well as his famous "The Battle of Frogs and Mice." "It should be very satisfying to sing hymns to gods whom everyone can agree exist, so tune up your pipes for Apollo, the archer and fair king of days, or for Venus, the soft skinned, because both beauty and sunshine deserve our adoration. How appropriate that the voice you can choose here should be Elizabethan, queen of the Enlightenment, and patron of the poets, George Chapman so much among them, who made the old world new, and heard the voice of heroes in all of Homer's songs."-William H. Gass "Chapman's versions inspired English poets for centuries after his time. They rest on a minute and perceptive reading of the texts. And they retain their power to fascinate and provoke anyone interested in Homer and his afterlife, in Renaissance ideas about classical and modern poetry, or in the development of the language of English poetry."-Anthony T. Grafton, Princeton University "Oft of one wide expanse had I been toldThat deep-browed Homer ruled as his demesne;Yet did I never breathe its pure sereneTill I heard Chapman speak out loud and bold"-John Keats, "On First Looking into Chapman's Homer"

This lively, intimate, sometimes disrespectful, but always knowledgeable history of the Bollingen Foundation confirms its pervasive influence on American intellectual life. Conceived by Paul and Mary Mellon as a means of publishing in English the collected works of C. G. Jung, the Foundation broadened to encompass scholarship and publication in a remarkable number of fields. Here are wonderful portraits of the central figures, including the Mellons, Jung himself, Heinrich Zimmer, Joseph Campbell, D. T. Suzuki, Natacha Rambova, Vladimir Nabokov, Gershom Scholem, Herbert Read, and Kurt and Helen Wolff. "Because we know so little about the role of foundations in American intellectual life, we welcome . . . William McGuire's delightful chronicle of the Bollingen Foundation. Mr. McGuire . . . writes as a participant, not as an outside historian. But he makes the most of his particular perspective. . . And he tempers his sympathetic attachment with a winning sense of irony, even irreverence."---Thomas Bender, The New York Times Book Review

An approach to music as an instrument of philosophical inquiry, seeking not so much a philosophy of music as a philosophy through music.

The authoritative edition of Jung's miscellaneous collected writings The Symbolic Life gathers some 160 of Jung's writings that span sixty years and reflect his inquiring mind, numerous interests, and wide circle of professional and personal acquaintance. These writings include three longer works, "The Symbolic Life," "Symbols and the Interpretation of Dreams," and "The Tavistock Lectures"; a number of previously overlooked reviews, reports, and articles from the early years of Jung's career; several finished or virtually finished manuscripts that weren't published in his lifetime, including a 1901 report on Freud's On Dreams; and works Jung wrote after retiring from active medical practice. The other pieces collected here include forewords to books by colleagues and pupils, replies to journalists' questions, encyclopedia articles, and letters on technical subjects. "Recommended . . . not only to the scholar wishing to make sure he has missed nothing important of Jung's, but also to the new student trying to get a grasp of Jung's work, especially if he likes to get the 'feel' of the relationship of the work to the man; Jung in his various aspects is very much present."

"Finalist for the PROSE Award in Art History and Criticism, Association of American Publishers" Wu Hung is the Harrie A. Vanderstappen Distinguished Service Professor of Art History at the University of Chicago, where he is also director of the Center for the Art of East Asia. His many books include A Story of Ruins: Presence and Absence in Chinese Art and Visual Culture (Princeton) and Zooming In: Histories of Photography in China. A sweeping look at Chinese art across the millennia that upends traditional perspectives and offers new pathways for art history Throughout Chinese history, dynastic time-the organization of history through the lens of successive dynasties-has been the dominant mode of narrating the story of Chinese art, even though there has been little examination of this concept in discourse and practice until now. Chinese Art and Dynastic Time uncovers how the development of Chinese art was described in its original cultural, sociopolitical, and artistic contexts, and how these narratives were interwoven with contemporaneous artistic creation. In doing so, leading art historian Wu Hung opens up new pathways for the consideration of not only Chinese art, but also the whole of art history. Wu Hung brings together ten case studies, ranging from the third millennium BCE to the early twentieth century CE, and spanning ritual and religious art, painting, sculpture, the built environment, and popular art in order to examine the deep-rooted patterns in the historical conceptualization of Chinese art. Elucidating the changing notions of dynastic time in various contexts, he also challenges the preoccupation with this concept as the default mode in art historical writing. This critical investigation of dynastic time thus constitutes an essential foundation to pursue new narrative and interpretative frameworks in thinking about art history. Remarkable for the sweep and scope of its arguments and lucid style, Chinese Art and Dynastic Time probes the roots of the collective imagination in Chinese art and frees us from long-held perspectives on how this art should be understood. Published in association with the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC "{Chinese Art and Dynastic Time} frees us from the long-held belief that Chinese art could only be read through the lens of successive dynasties."---Xue Xuan, International Institute for Asian Studies "This is an outstanding work of art history. Wu Hung's great achievement rests in his terrific control over a great span of time and material, in the form of both texts and images. With arguments that have value beyond Chinese art, and that impinge on the whole enterprise of art history, this significant book will stimulate the discipline for years to come."-Craig Clunas, author of Chinese Painting and Its Audiences "Chinese Art and Dynastic Time is a magisterial summation of the intellectual path of an eminent Chinese art historian. This is a milestone in the field."-Eugene Wang, author of Shaping the Lotus Sutra: Buddhist Visual Culture in Medieval China

Nine essays, written between 1922 and 1941, on Paracelsus, Freud, Picasso, the sinologist Richard Wilhelm, Joyce's Ulysses, artistic creativity generally, and the source of artistic creativity in archetypal structures. "[These essays] reveal the breadth of the great psychiatrist's interests and the rigorous originality with which he attacked diverse manifestations of human creativity."

Ernst Robert Curtius held the chair of romance literature and language at Bonn University from 1929 until his retirement in 1951. Colin Burrow is a fellow of All Souls College, University of Oxford. He is the author of Epic Romance: Homer to Milton. Published just after the Second World War, European Literature and the Latin Middle Ages is a sweeping exploration of the remarkable continuity of European literature across time and place, from the classical era up to the early nineteenth century, and from the Italian peninsula to the British Isles. In what T. S. Eliot called a "magnificent" book, Ernst Robert Curtius establishes medieval Latin literature as the vital transition between the literature of antiquity and the vernacular literatures of later centuries. The result is nothing less than a masterful synthesis of European literature from Homer to Goethe. European Literature and the Latin Middle Ages is a monumental work of literary scholarship. In a new introduction, Colin Burrow provides critical insights into Curtius's life and ideas and highlights the distinctive importance of this wonderful book. "This is the sort of book which takes much of a man's lifetime to produce and which can be read again and again with profit and pleasure. In effect it is an analysis of medieval Latin literature as a major stage in the transition from the Graeco-Roman classics to the modern vernacular literatures. No forbidding catalogue of periods, authors, and works, but literary criticism and literary history by a thoughtful scholar at home in classical, medieval, and modern literature, this is a powerfully presented and richly informative study of medieval standards, values, assumptions and literary conventions." "We have in [this work] a vast store of significant learning, and many new and important insights into the humane literary heritage and its precarious transmission."---Francis Fergusson, The Hudson Review "A balanced introduction to Curtius studies, putting this masterpiece in context as the work of a German academic 'mandarin' whom family history, character, and intellectual training made an advocate for an elite European cultural cosmopolitanism." "This is, I think, the finest work of literary scholarship in my time, by the great German philologist Ernst Robert Curtius. It is an extraordinary study of the continuity of European literature, from Homer and the other Greeks, on through Virgil and the great Latin writers, to a culmination in Dante, and moving beyond to a consideration of a long tradition that concludes with Goethe. . . . It is from Curtius that I have learned--and others go on learning--what literature is, and why I myself would call it a way of life and a way of thought."---Harold Bloom, FiveBooks "Curtius's book, despite its age, remains vital for anyone interested in the fate of the classics in Western Europe. European Literature and the Latin Middle Ages is at once a great resource and a model of how to think about literature and tradition. It is wonderful to have it readily available again."-Anthony Grafton, Princeton University

Charles S. Singleton's edition of the Divine Comedy, of which this is the first part, provides the English-speaking reader with everything he needs to read and understand Dante's great masterpiece. The Italian text here is in the edition of Giorgio Petrocchi, the leading Italian editor of Dante. Professor Singleton's prose translation, facing the Italian in a line-for-line arrangement on each page, is smooth and literate. The companion volume, the Commentary, marshals every point of information the reader may require: vocabulary; grammar; identification of Dante's characters; historical sources of some of the incidents and, where pertinent, excerpts from those sources in their original languages and in translation; profound clear analysis of the Divine Comedy's basic allegory. There is a complete bibliography of every aspect of Dante studies. This first part of the Divine Comedy which is illustrated with maps of Italy and the region Dante knew especially, diagrams of the circles of Hell, and plates showing some of the historic sites mentioned by Dante in his poem. "The publication of the first part of Singleton's translation and commentary provides the most comprehensive annotated edition of the Inferno available in English. It is particularly valuable not only for the wealth of factual material but for the citing and translation of long passages from Dante's sources. . . . An indispensable tool for all serious students of the Divine Comedy in English and a valuable possession for all Dantisti." "Although we have had many translations of the Comedy since the eighteenth century, some of them notable re-creations, we have not really had a scholarly edition which aims at relative completeness of information about the language, ideas, and background of the poem. This Professor Singleton has provided." "Singleton's edition of the Divine Comedy will certainly be the edition for readers in English. The translation is much the most satisfactory one I know. The commentary is the most complete and authoritative in English. It is clear that Singleton's work on the Inferno supersedes everything else of the kind."-Francis Fergusson

From one of the world's leading authorities on ancient Greek art, a groundbreaking account of how Greek images were understood and used by other ancient peoples, from Britain to China In this book, acclaimed archaeologist and art historian John Boardman explores Greek art as a foreign art transmitted to the non-Greeks of antiquity-peoples who weren't necessarily able to judge the meaning of Greek art and who may have regarded the Greeks themselves with great hostility. Boardman examines how and why the arts of the classical world traveled and to what effect, from Britain to China, from roughly the eighth century BCE to the early centuries CE. In some places, such as Italy, Greek images were overwhelmingly successful. In Egypt, the Celtic world, the eastern steppes, and other regions with strong local traditions, they were never effectively assimilated. And in cultures where there was a subtler blend of influences, notably in the Buddhist east, classical images served as a catalyst to the generation of new styles. Along the way, Boardman demonstrates that looking at Greek art from the outside provides a wealth of new insights into Greek art itself, and he raises important questions about how images in general are copied and reinterpreted. John Boardman is a Fellow of the British Academy and a Senior Research Associate at the University of Oxford's Classical Art Research Centre. He is Professor Emeritus of Classical Art and Archaeology at Lincoln College, Oxford, and former Assistant Keeper at the Ashmolean Museum. His many books include The Greeks Overseas, The History of Greek Vases, and The Greeks in Asia. "Boardman's subject is not so much what Greek art meant to the Greeks and to foreigners but how it moved through the world. . . . Anyone curious about ancient cultures will find it absorbing."---Kenneth Baker, San Francisco Examiner & Chronicle "[An] elegantly written book." "[The] familiarity and confidence with which Boardman discusses the vast array of monuments considered here is impressive."

Papers on child psychology, education, and individuation, underlining the overwhelming importance of parents and teachers in the genesis of the intellectual, feeling, and emotional disorders of childhood. The final paper deals with marriage as an aid or obstacle to self-realization. "The papers included in this volume present an enlightening view of Jung himself and his many-faceted outlook on life."

The authoritative edition of Jung's essential writings for understanding his early enthusiasm for-and later split with-Freud and psychoanalysis Freud and Psychoanalysis gathers Jung's writings on Freud and psychoanalysis published between 1906 and 1916, along with two later, related papers. The book covers the period of the enthusiastic collaboration between the two pioneers of psychology through the years when Jung's growing appreciation of religious experience, his criticism of Freud's emphasis on pathology, and other differences led to Jung's formal break with his mentor. Part I features brief studies of Freud's theory of hysteria, dream analysis, the psychology of rumor, and other subjects. Parts II and III contain the essentials of the criticism that led to Jung's rupture with Freud, the most important of which is "The Theory of Psychoanalysis." Part IV presents "The Significance of the Father in the Destiny of the Individual." The book's final two pieces, "Freud and Jung: Contrasts" and the introduction to a book by W. M. Kranefeldt, further illuminate Jung's reassessment of psychoanalysis. "This volume is an excellent introduction into Jungian theories and demonstrates their fundamental differences from psychoanalysis. It also makes it understandable that Jung was often called a mystic even at the early stage of the development of his theories. The translation is admirable."

A cultural and social history of art collecting, art history, and the art market In The Rare Art Traditions, Joseph Alsop offers a wide-ranging cultural and social history of art collecting, art history, and the art market. He argues that art collecting is the basic element in a remarkably complex and historically rare behavioral system, which includes the historical study of art, the market for buying and selling art, museums, forgery, and the astonishing prices commanded by some works of art. The Rare Art Traditions tells the story of three important traditions of art collecting: the classical tradition that began in Greece, the Chinese tradition, and the Western tradition. The result is a major original contribution to art history. Joseph Alsop (1910–1989) was a prominent American journalist, syndicated Washington columnist, and art collector. His books include From the Silent Earth: A Report on the Greek Bronze Age. "Art historians have produced a rich literature on the history of art patronage and art collecting through the ages, but what we know about the art market and the history of art dealing is woefully inadequate. . . . It has remained for a private scholar who is not an art historian by training, Mr. Joseph Alsop, to accomplish what we should have done long ago."-H. W. Janson, author of History of Art "This is a genuine and quirky book: It provokes ideas; it raises objections."---James R. Mellow, New York Times Book Review

The authoritative edition of sixteen of Jung's studies on the psychology of religious phenomena, including Aion and Psychology and Alchemy This volume collects Jung's shorter writings on religion and psychology, including several that are of major importance, as well as two full-length works on the subject, Aion and Psychology and Alchemy. Together, these writings present Jung's significant statement on a vital theme. The shorter pieces on Western religion are: Psychology and Religion • A Psychological Approach to the Dogma of the Trinity • Transformation Symbolism in the Mass • Forewords to White's God and the Unconscious and Werblowsky's Lucifer and Prometheus • Brother Klaus • Psychotherapists or the Clergy • Psychoanalysis and the Cure of Souls • Answer to Job The shorter pieces on Eastern religion are: Psychological Commentaries on The Tibetan Book of the Great Liberation and The Tibetan Book of the Dead • Yoga and the West • Foreword to Suzuki's Introduction to Zen Buddhism • The Psychology of Eastern Meditation • The Holy Men of India • Foreword to the I Ching "Nowhere else than in this study of the interplay of East and West is the point so forcefully made that man's cultural past somehow molds his feelings and thinking as well as his highly contrasting attitudes toward reality."

An original account of ancient Egyptian and Sumerian architecture from the acclaimed architectural historian In The Beginnings of Architecture, Sigfried Giedion examines the architecture of ancient Egypt and Sumer. These early builders expressed an attitude of immense force when they confronted their structures with open sky. Giedion argues that it was during these periods that the problem of constancy and change flared up with an intensity unknown in any other period of history, and resolved eventually into the first architectural space conception, the automatic, psychic recording of the visual environment. Sigfried Giedion (1888–1968) was an eminent critic and historian of architecture and art who had a major influence on architectural modernism. His books include Space, Time, and Architecture and Mechanization Takes Command. He taught at the Massachusetts Institute of Technology, Harvard University, and ETH Zurich. "[Giedion] relates the great monuments that greet us at the outset with the great spaces of the Aurignacian caves and with the ancient cult of the animal treated as a sacred object. One of his most original intuitions is that 'the religious structure of the first high civilizations was founded upon the discovery of the human form and the human face' and the appreciation of the naked body."---Lewis Mumford, The New Yorker "[Giedion's] long preoccupation with what it feels like to frequent spaces controlled by the buildings of men permits him to illuminate data long familiar. We have stared for years at drawings of Greek temples without realizing the meaning of the fact that they were not buildings to go into. These windowless cells surrounded by stone columns were the focal points of ceremonious processions, for if the gods no longer wandered the people did, on ritual visits to majestic images."---Hugh Kenner, National Review "Giedion's vision dominates the entire book: it is so absolute and conclusive that the book emerges as a general philosophy rather than mere architectural history."---Paul Zucker, Progressive Architecture "Eloquent."---John Canaday, New York Times Book Review

The detailed general index to the authoritative English-language edition of Jung's works This general index to the Collected Works of C. G. Jung is exceptionally comprehensive, indexing down to paragraph numbers. Some particularly important subjects are treated in subindexes, including alchemy, animals, the Bible, colors, Freud, Jung, and numbers. This is an essential reference tool for serious students of Jung.

A vivid and exciting account of royal collectors, art dealers, connoisseurs, and the rise of old master paintings Old master paintings are among the most valuable and prestigious of the visual arts, and the best examples command the highest prices of any luxury commodity. In Kings and Connoisseurs, Jonathan Brown tells the story of how painting rose to this exalted status. The transformation of painting from an inexpensive to a costly art form reached a crucial stage in the royal courts of Europe in the seventeenth century, where rulers and aristocrats assembled huge collections, often in short periods of time. By comparing collecting and collectors at these courts, Brown explains the formation of new attitudes toward pictures, as well as the mechanisms that supported the enterprise of collecting, including the emergence of the art dealer, the development of connoisseurship, and the publication of sumptuous picture books of various collections. The result is an exciting narrative of greed and passion, played out against a background of international politics and intrigue. Jonathan Brown (1939–2022) was the Carroll and Milton Petrie Professor of Fine Arts at the Institute for Fine Arts at New York University and the author of many books, including Velázquez: Painter and Courtier; Painting in Spain, 1500–1700; In the Shadow of Velázquez: A Life in Art History; and Images and Ideas in Seventeenth-Century Spanish Painting (Princeton). "Full of down-to-earth narrative about dickering and haggling among princes and their agents. . . . Brown is particularly good at converting the hard evidence of the Hapsburg acquisitions into a sort of poignant thriller."---Raymond Sokolov, Wall Street Journal

An essential guide to vital and often overlooked features of the architectural and social inheritance of the West This book provides vital insights into the ways in which architecture reflects the character of society. Drawing on his immense erudition and keenly discerning eye, Nikolaus Pevsner describes twenty types of buildings ranging from the most monumental to the least, and from the ideal to the most utilitarian. He covers both European and American architecture, with examples chosen largely from the nineteenth century, the crucial period for diversification. Included are national monuments, libraries, theaters, hospitals, prisons, factories, hotels, and many other public buildings. Incisive and authoritative, A History of Building Types traces the evolution of each type in response to social and architectural change, and discusses differing attitudes toward function, materials, and style. Please note: All images in this ebook are presented in black and white and have been reduced. Nikolaus Pevsner (1902–1983) was professor of art history at Birkbeck, University of London. His books include Pioneers of Modern Design: From William Morris to Walter Gropius and An Outline of European Architecture. "A monument of lively scholarship, and also a most revealing anthology. . . . Gloriously informative. It brims with curious details."---Raymond Mortimer, Sunday Times

A landmark account of the work, thought, and life of the seventeenth-century French painter In this book, Anthony Blunt presents a rich account of the paintings, life, and development of the great seventeenth-century French classicist Nicolas Poussin (1594–1665), addressing the artist's entire oeuvre alongside his theory of art. Blunt shows why Poussin holds a central place in the great French humanist line that produced Racine, Molière, Voltaire, the Parnassians, and Mallarmé. At the same time, he examines how Poussin looks back to Raphael and ancient Rome, while pointing forward to Ingres, Cézanne, the Cubists, and Picasso. Anthony Blunt (1907–1983) was director of the Courtauld Institute of Art, professor of art history at London University, and Surveyor of the Queen's Pictures. His many books include Art and Architecture in France, 1500–1700. "An extraordinary synthesis of Poussin the painter and Poussin the thinker. . . . A classic of modern art history."---J. M. Brown, Journal of Aesthetics and Art Criticism

A stunning visual history of sculpture from prehistory through modernity This book presents an aesthetic of sculptural art, which has too often submitted to the rule of architecture and painting. Herbert Read emphasizes the essential and autonomous nature of sculpture-"Form in its full spatial completeness," in the words of British sculptor Henry Moore. The Art of Sculpture provides historical support and theoretical rigor to this conception. Along the way, this incisive and wide-ranging book takes readers on a breathtaking tour of great works of sculpture from prehistoric times to the modern era. Please note: All images in this ebook are presented in black and white and have been reduced in size. Sir Herbert Read (1893–1968) was renowned as a poet and a writer on the visual arts, literature, and education. His many books include A Concise History of Modern Painting, Art Now, Art and Society, and Icon and Idea. "Concerned with the qualities which exist in uniquely sculptural objects, the author wends his way, without chronological restrictions, through the history of sculpture, bringing to bear considerable documentation from the writings of artists and philosophers in support of his views." "Thoroughly erudite and thoroughly convincing. . . . A book which should lead to a thorough reappraisal of the role of sculpture in the trinity of the major arts." "Few critics write history at all, but this book is very good history. Within its field it is a systematic and almost invariably exact record. As a history, it will surely remain more useful to more people than anything else on the subject."---Lawrence Gowing, New Statesman

Aion, originally published in German in 1951, is one of the major works of Jung's later years. The central theme of the volume is the symbolic representation of the psychic totality through the concept of the Self, whose traditional historical equivalent is the figure of Christ. Jung demonstrates his thesis by an investigation of the Allegoria Christi, especially the fish symbol, but also of Gnostic and alchemical symbolism, which he treats as phenomena of cultural assimilation. The first four chapters, on the ego, the shadow, and the anima and animus, provide a valuable summation of these key concepts in Jung's system of psychology. "Much of the material in this book and many of the conclusions are fascinating. There is a great deal here to illustrate the background of modern mysticism and much which the reader, of whatever orientation, will regard as insight." "Aion contains some of Jung's most advanced thinking on the integrative principles of the psyche, and on the relation of matter to the symbolic processes of the collective unconscious. This is difficult ground to explore, but those who attempt the journey will find that their horizons have been surprisingly widened."

As an associate of C. G. Jung for many years, Jolande Jacobi is in a unique position to provide an interpretation of his work. In this volume, Dr. Jacobi presents a study of three central, interrelated concepts in analytical psychology: the individual complex, the universal archetype, and the dynamic symbol.

Continuing the paperback edition of Charles S. Singleton's translation of The Divine Comedy, this work provides the English-speaking reader with everything he needs to read and understand the Paradiso. This volume consists of the prose translation of Giorgio Petrocchi's Italian text (which faces the translation on each page); its companion volume of commentary is a masterpiece of erudition, offering a wide range of information on such subjects as Dante's vocabulary, his characters, and the historical sources of incidents in the poem. Professor Singleton provides a clear and profound analysis of the poem's basic allegory, and the illustrations, diagrams, and map clarify points that have previously confused readers of The Divine Comedy. "With the publication of Singleton's edition of The Divine Comedy, we have in English . . . A truly scholarly edition which can at last vie with ones in Italian and German. . . . This monumental work will be indispensable for all lovers of this masterpiece who wish to root it in its linguistic, historical and social reality."

The authoritative edition of the revealing lectures Jung delivered during medical school In 1895, after enrolling in the medical school of Basel University, Jung became a member of the Zofingia Society, a student fraternity to which he delivered five lectures over the next four years. Anticipating and illuminating his mature interest in empirical psychology, spiritualism, the occult, and the metaphysical, these talks confirm that Freudian psychoanalysis was a diversion in Jung's intellectual development.

Charles S. Singleton's edition of the Divine Comedy, of which this is the first part, provides the English-speaking reader with everything he needs to read and understand Dante's great masterpiece. The Italian text here is in the edition of Giorgio Petrocchi, the leading Italian editor of Dante. Professor Singleton's prose translation, facing the Italian in a line-for-line arrangement on each page, is smooth and literate. The companion volume, the Commentary, marshals every point of information the reader may require: vocabulary; grammar; identification of Dante's characters; historical sources of some of the incidents and, where pertinent, excerpts from those sources in their original languages and in translation; profound clear analysis of the Divine Comedy's basic allegory. There is a complete bibliography of every aspect of Dante studies. This first part of the Divine Comedy which is illustrated with maps of Italy and the region Dante knew especially, diagrams of the circles of Hell, and plates showing some of the historic sites mentioned by Dante in his poem. "The publication of the first part of Singleton's translation and commentary provides the most comprehensive annotated edition of the Inferno available in English. It is particularly valuable not only for the wealth of factual material but for the citing and translation of long passages from Dante's sources. . . . An indispensable tool for all serious students of the Divine Comedy in English and a valuable possession for all Dantisti." "Although we have had many translations of the Comedy since the eighteenth century, some of them notable re-creations, we have not really had a scholarly edition which aims at relative completeness of information about the language, ideas, and background of the poem. This Professor Singleton has provided." "Singleton's edition of the Divine Comedy will certainly be the edition for readers in English. The translation is much the most satisfactory one I know. The commentary is the most complete and authoritative in English. It is clear that Singleton's work on the Inferno supersedes everything else of the kind."-Francis Fergusson

Continuing the paperback edition of Charles S. Singleton's translation of The Divine Comedy, this work provides the English-speaking reader with everything he needs to read and understand the Paradiso. This volume consists of the prose translation of Giorgio Petrocchi's Italian text (which faces the translation on each page); its companion volume of commentary is a masterpiece of erudition, offering a wide range of information on such subjects as Dante's vocabulary, his characters, and the historical sources of incidents in the poem. Professor Singleton provides a clear and profound analysis of the poem's basic allegory, and the illustrations, diagrams, and map clarify points that have previously confused readers of The Divine Comedy. "With the publication of Singleton's edition of The Divine Comedy, we have in English . . . A truly scholarly edition which can at last vie with ones in Italian and German. . . . This monumental work will be indispensable for all lovers of this masterpiece who wish to root it in its linguistic, historical and social reality."

The authoritative edition of some of Jung's most important writings on psychiatry The Psychogenesis of Mental Disease presents some of Jung's most important writings on psychiatry, including "On the Psychology of Dementia Praecox," his landmark early study of what is today called schizophrenia. Also featured here are nine other key papers in psychiatry, the earliest being "The Content of the Psychoses," written in 1908, when Jung was a leading member of the early psychoanalytic movement. The latest are two papers written in 1956 and 1958, which embody Jung's conclusions after many years of experience in the psychotherapy of schizophrenia. These writings reflect the original techniques with which Jung is especially associated. "The whole of the book reflects the development of Jung's thinking through the years on the nature of mental illness. It seems that room should now be made on the psychiatrist's shelf right next to the important volumes by Bleuler and Arieti."