Between drawing and painting

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Oskar Bätschmann and Pascal Griener

Holbein was a hugely ambitious artist, and even during his formative years in Lucerne and Basle undertook to make designs for jewelry, stained glass and woodcuts as well as to paint major altarpieces and portraits. He also carried out several monumental decorative schemes for private houses and civic buildings. This book offers both a remarkable range of extant visual evidence and a rewarding and scholarly account of Holbein's oeuvre in its full historical and artistic contexts. In addition, the authors include a reappraisal of the high reputation in which Holbein was held during the centuries following his death, as illustrated by the opinion expressed by the Elizabethan miniaturist Nicholas Hilliard and the searches undertaken by the French collector Charles Patin, and by the remarks and exertions of the wealthy eighteenth-century dilettante Horace Walpole.

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Stephen C. Foster

Few artists spanned the movements of early twentieth-century art as completely as did Hans Richter. Richter was a major force in the developments of expressionism, Dada, De Stijl, constructivism, and surrealism, and the creator, with Viking Eggeling, of the abstract cinema. The contributors to this book rewrite Richter's history to include his pivotal role in the development of the early twentieth-century avant-garde and his political activism. When Richter's work, particularly that of his earlier, European career, is viewed in its historical and political context, he emerges as an artist committed to the power of art to change the fabric of social, political, and cultural affairs.

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Andrew Ladis

"A discussion of the murals by Giotto in the Arena Chapel of Padua, Italy. The artist's work is considered in terms of its relationship to the structure of the poetry of Dante, biblical exegesis, geometry, and symmetry"--Provided by publisher.

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Philip M. Weinstein

Faulkner has, for forty years, been canonized as a master of modern literature. Contemporary critical theory, however, calls into question the very terms of this claim--canon, mastery, literature. Faulkner's Subject: A Cosmos No One Owns seeks to offer a reading of William Faulkner for our time, and does so by rethinking his masterpieces through the lenses of current critical theory. The book attends equally to the power of his work and to the current theoretical issues that would call that power into question. Drawing on poststructuralist, psychoanalytic, ideological, and gender theory, Weinstein examines the harrowing process of "becoming oneself" at the heart of these novels. This self is always male, and it achieves subjective focus only through strategically mystifying or marginalizing women and blacks. The cosmos he called his own--the textual world he produced, of which he would be "sole owner and proprietor"--emerges as a cosmos no one owns, a verbal territory also generated (and biased) by the larger culture's discourses of gender and race. Like subjectivity itself, it is a cosmos no one owns.