Where to see the art --

An up-to-date, engaging survey of the most important revolution in early twentieth-century art.

Genius, anti-artist, charlatan, guru, impostor? Since 1914 Marcel Duchamp has been called all these. No artist of the 20th century has aroused more passion and controversy, nor exerted a greater influence on art, whose very nature Duchamp challenged and redefined as concept rather than product by questioning its traditionally privileged optical nature. At the same time, he never ceased to be engaged, openly or secretly, in provocative activities and works which transformed traditional artmaking procedures. Thirty years of research have gone into this accessible text on a complex artist. Written with the enthusiastic support of Duchamp’s widow, this is one of the most original and important books ever written on this enigmatic artist, and challenges received ideas, misunderstanding and misinformation.

Pablo Picasso was a twentieth-century Spanish painter and sculptor known for his contributions to many artistic movements, including Cubism and collage.

A revised and expanded edition of one of the most original books ever written on the enigmatic artist Marcel Duchamp. Genius, anti-artist, charlatan, guru, impostor? Since he arrived on the scene in 1914, Marcel Duchamp has been called all of these. Almost no other artist of the twentieth century has inspired more passion and controversy, nor exerted a greater influence on art. At the same time, Duchamp continually challenged the very nature of art and strove to redefine it as conceptual rather than as product by questioning why the medium was mostly a "retinal" experience. Always the provocateur, Duchamp never ceased to be engaged, openly or secretly, in activities and works that transformed traditional artmaking. Through his works like Fountain; Bicycle Wheel; L.H.O.O.Q.; and Nude Descending a Staircase, No. 2, Duchamp played with the idea of what art can be, opening new possibilities for future generations. This revised entry in the World of Art series, written by three leading experts on twentieth-century art, and published with support of Duchamp’s widow, is one of the most original books written on this enigmatic artist. Featuring a new chapter and preface, as well as updates throughout from specialist scholars who are active in their fields, this is the definitive introduction to Duchamp. Thoroughly illustrated, this volume combines thirty years of research by the authors and challenges history’s presumptions, misunderstandings, and pieces of misinformation about Marcel Duchamp and his legacy.

This quick-reference diagnostic aid uses clinical photographs to illustrate differences in common dermatologic conditions which may present similarly. It compares conditions (for example Vitiligo vs. Pityriasis Versiscolor) on facing pages, with 4-5 full color illustrations, "compare and contrast" tables, and charts to help identify each. Summary boxes offer brief lists and commentary on similar, but less likely, diagnoses that should be considered, and also any cross-referencing. * Provides detailed text and abundant full-color illustrations. * Covers the most common dermatologic disorders encountered in everyday practice. * Includes "compare and contrast" tables for every diagnostic dilemma. * Organizes contents in a clinically relevant format by body region. * Heavily illustrated with more than 550 full-color clinical photographs and tables.

Pablo Picasso was fascinated by animals and from his earliest years they played an important role in both his life and his work. Many of his most intriguing and stimulating creations represent beasts in all manner of guises, both serious and playful. A Picasso Bestiary is published to coincide with an exhibition held at Croydon in 1995, and like the show, it gathers together a thought-provoking selection of Picasso's animal works, grouped by subject: The Bull, The Horse and the Donkey, Birds, Cats and Dogs, Goats and Sheep, Watery Creatures, Insects, Monkeys and Monsters. This format was suggested by the structure of the mediaeval bestiary: a luxurious 'Book of Beasts' which described the wonders of the animal kingdom and explained their moral and spiritual significance. The stories the bestiary tells are based on fact and fancy, hearsay and precedence, and a comparable method has been adopted in this book: the weaving of tales around Picasso's animals and relating them to earlier themes and models in Western European art. Like many artists before him, Picasso recognised the way in which the visual representation of animals could invoke a whole range of reflections about life and death, food and sex and, importantly, his own creativity. This book therefore comprises two narratives, the one dealing with a tradition of animal representation, the other with Picasso. Their juxtaposition, together with a wealth of visual material, allows exciting patterns to emerge which demonstrate both how consistently certain long-established themes continue into Picasso's art, and how wilfully others are abandoned in favour of his own personal vision.

This book explores the work of those artists who attempted to keep alive the expanded possibilities opened up by Cubism in Paris between 1911 and 1914. This little community of artists refused to accept that recording the war or producing propaganda was their duty. Instead, they kept faith in their independence as individuals as this war of machines threatened to rob every front-line soldier of his humanity and to draw the globe into unprecedented conflict. The vast majority of fit young Frenchmen were mobilized, so those artists left behind in Paris were either foreign or too old or unfit for combat. Pablo Picasso, then known as the inventor of Cubism, remained a prominent figure, alongside his fellow Spaniards Juan Gris and María Blanchard, the Mexican Diego Rivera, the Italian Gino Severini, the Lithuanian sculptor Jacques Lipchitz and the French painters Georges Braque, Henri Laurens, Fernand Léger and Henri Matisse. One focus of this book is the sheer diversity of the work produced by these artists; another is the move made by most of them toward a more structured, architectural Cubism, especially from 1917, which could be taken as reparation against the destructive forces that seemed to have taken over the whole world.