Other books that might interest you

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  True Stories about Dogs and Cats

  Eliza Lee Cabot Follen

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  libreka classics – These are classics of literary history, reissued and made available to a wide audience. 
  Immerse yourself in well-known and popular titles!

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  Boston Blackie: Amnesia Victims

  Jack Boyle

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  Arthur Burke woke up this morning in a strange office with a lump on his head and he has no idea where he’s been for the last three weeks. Burke has read the story of the murder of George Digby in the morning paper and is afraid that he had something to do with it. Burke calls Blackie to help him find out.

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  She Can Really Lay it Down - 50...

  Rachel Frankel

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  “There’s so much joy and glory in these portraits” of contemporary female musical artists (from the foreword by Amanda Petrusich, New Yorker staff writer and author of Do Not Sell At Any Price: The Wild, Obsessive Hunt for the World’s Rarest 78rpm Records).  She Can Really Lay It Down celebrates fifty incredible women who shredded, sang, and stormed the stage with ferocity and passion. Each incredible musician in this book defied genre and social conventions to shape the music industry as we know it, but have been overlooked simply because they are women.   Sister Rosetta Sharpe, Carol Kaye, Janet Weiss, Carole King, and Wu Man are just a few of the groundbreaking musicians author and illustrator Rachel Frankel shines a spotlight on.   • Each musician is accompanied by a vivid illustration and heartfelt biography • Readers discover new heroes and revisit familiar faces • Features an exposed spine designed to look like the neck of a guitar   These women rock—in every sense of the word.  She Can Really Lay It Down pays homage to songwriters, performers, and musicians from every genre, inspiring a whole new generation of fearless and talented performers.   This coffee table book and conversation starter is a wonderful gift for musicians, diehard music lovers, riot grrrls, singers and songwriters, music teachers, feminists of all ages, and anyone eager for more stories about musical women.

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  Wagner in Words and Music

  Davinia Caddy

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  The Bayreuth Festspielhaus stands today as a testament to Richard Wagner’s ambition and self-importance – a theatre designed and built solely for the performances of his immersive ‘music dramas’. From the influence of Beethoven to the transcendental properties of his greatest music, Wagner’s work became a cornerstone of European musical culture, but what kind of journey took him towards this remarkable achievement? In this fascinating audio biography we hear about Wagner’s tempestuous personal life, his controversial political views and his struggles to establish himself as one of the most influential musical visionaries of the 19th century. The narrative is illustrated with excerpts from all of the best-loved operas including the Ring cycle, Tristan und Isolde, Lohengrin, Der fliegende Holländer, Parsifal, and more.

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  Burne-Jones

  Patrick Bade

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  Burne-Jones’ oeuvre can be understood as an attempt to create in paint a world of perfect beauty, as far removed from the Birmingham of his youth as possible. At that time Birmingham was a byword for the dire effects of unregulated capitalism – a booming, industrial conglomeration of unimaginable ugliness and squalor.
  The two great French symbolist painters, Gustave Moreau and Pierre Puvis de Chavannes, immediately recognised Burne-Jones as an artistic fellow traveller. But, it is very unlikely that Burne-Jones would have accepted or even, perhaps, have understood the label of ‘symbolist’. Yet he seems to have been one of the most representative figures of the symbolist movement and of that pervasive mood termed “fin-de-siecle”.
  Burne-Jones is usually labelled as a Pre-Raphaelite. In fact he was never a member of the Brotherhood formed in 1848. Burne-Jones’ brand of Pre-Raphaelitism derives not from Hunt and Millais but from Dante Gabriel Rossetti.
  Burne-Jones’ work in the late 1850s is, moreover, closely based on Rossetti’s style. His feminine ideal is also taken from that of Rossetti, with abundant hair, prominent chins, columnar necks and androgynous bodies hidden by copious medieval gowns. The prominent chins remain a striking feature of both artists’ depictions of women. From the 1860s their ideal types diverge. As Rossetti’s women balloon into ever more fleshy opulence, Burne-Jones’ women become more virginal and ethereal to the point where, in some of the last pictures, the women look anorexic.
  In the early 1870s Burne-Jones painted several mythical or legendary pictures in which he seems to have been trying to exorcise the traumas of his celebrated affair with Mary Zambaco.
  No living British painter between Constable and Bacon enjoyed the kind of international acclaim that Burne-Jones was accorded in the early 1890s. This great reputation began to slip in the latter half of the decade, however, and it plummeted after 1900 with the triumph of Modernism.
  With hindsight we can see this flatness and the turning away from narrative as characteristic of early Modernism and the first hesitant steps towards Abstraction. It is not as odd at it seems that Kandinsky cited Rossetti and Burne-Jones as forerunners of Abstraction in his book, “Concerning the Spiritual in Art”.

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  Tate Introductions: Warhol

  Stephanie Straine

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  A central figure in pop art, Andy Warhol (1928-1987) was one of the most significant and influential artists of the later twentieth century. In the 1960s he began to explore the growing interplay between mass culture and the visual arts, and his constant experimentation with new processes for the dissemination of art played a pivotal role in redefining access to culture and art as we know it today. • At the height of his fame, Warhol claimed he was "abandoning" painting, shifting his practice towards a commitment to the theoretically limitless channels ofpublishing, film, fashion, music, and broadcasting. It was this "transmission" of art and radical ideas that embodied his ethical conviction that "art should be for everyone". • Stephanie Straine is Assistant Curator at Tate Liverpool, and specialises in American art of the 1960s. Her lively yet authoritative text provides the perfect introduction to the life and work of a pioneering artist whose legacy extends into the digital age.

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