Other books that might interest you

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  Dolly Parton - In Her Own Words

  Suzanne Sonnier

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  A collection of quotations from one of America’s most beloved cultural icons. 
   
  Curated from Dolly Parton’s numerous public statements—interviews, speeches, social media posts, and more—this is a comprehensive picture of her legacy as a musician, businesswoman, and philanthropist. Since her career began in the Nashville music scene of the 1960s, Parton has become revered for her work as a singer, multi-instrumentalist, and songwriter, selling over one hundred million records and being inducted into the Country Music Hall of Fame. And beyond her musical achievements, she co-owns the Dollywood Company and is renowned for the philanthropic work of her Dollywood Foundation. 
   
  This collection is a look into the inner workings of the woman known for penning such hits as “I Will Always Love You,” “Jolene,” and “9 to 5.” Now, for the first time, you can find Parton’s most inspirational, thought-provoking quotes in one place, providing an intimate and direct look into the mind of this legendary woman.

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  Bonnard and the Nabis

  Albert Kostenevitch

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  Pierre Bonnard was the leader of a group of post-impressionist painters who called themselves the Nabis, from the Hebrew word meaning ‘prophet’. Bonnard, Vuillard, Roussel and Denis, the most distinguished of the Nabis, revolutionized the spirit of decorative techniques during one of the richest periods in the history of French painting. Influenced by Odilon Redon and Puvis de Chavanne, by popular imagery and Japanese etchings, this post-impressionist group was above all a close circle of friends who shared the same cultural background and interests. An increasing individualism in their art often threatened the group’s unity and although tied together by a common philosophy their work clearly diverged. This publication lets us compare and put into perspective the artists within this fascinating group. The works presented in this collection offer a palette of extraordinary poetic expressions: candid in Bonnard, ornamental and mysterious in Vuillard, gently dream-like in Denis, grim and almost bitter in Vallotton, the author shares with us the lives of these artists to the very source of their creative gifts.

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  Patina Style

  Brooke Giannetti

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  The Giannettis have developed a home design style that embraces age, patina, weathered and worn surfaces, and rough surfaces. Patina Style  is a color palette, a romance with subtlety, an attraction to natural  materials and architectural details. It is at once old-world,  contemporary, and mildly industrial. Patina Style gives insight  into materials choices, methods and treatments that result in spaces  that celebrate beauty in the old, the imperfect, the slightly  roughed-up.

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  The Art of the Shoe

  Marie-Josèphe Bossan

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  What is more common than a pair of shoes? In a world where shoes have become an object of mass consumption, these accessories are now rid of any significance. The industry has accomplished its duty: producing a large quantity at a low price. But there was a time when the shoe symbolised the strength of the Roman legion, the power of the Medieval lords or the oppression of the Chinese woman. Its history is both vast and enthralling, as revealed by the author Marie-Josèphe Bossan. Supporting her analysis with an outstanding iconography, the author gives these commonplace objects a universal quality that sheds light on the whole of civilisation and elevates them to the rank of a work of art.

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  Chagall

  Victoria Charles

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  Marc Chagall was born into a strict Jewish family for whom the ban on representations of the human figure had the weight of dogma. A failure in the entrance examination for the Stieglitz School did not stop Chagall from later joining that famous school founded by the Imperial Society for the Encouragement of the Arts and directed by Nicholas Roerich. Chagall moved to Paris in 1910. The city was his “second Vitebsk”. At first, isolated in the little room on the Impasse du Maine at La Ruche, Chagall soon found numerous compatriots also attracted by the prestige of Paris: Lipchitz, Zadkine, Archipenko and Soutine, all of whom were to maintain the “smell” of his native land. From his very arrival Chagall wanted to “discover everything”. And to his dazzled eyes painting did indeed reveal itself. Even the most attentive and partial observer is at times unable to distinguish the “Parisian”, Chagall from the “Vitebskian”. The artist was not full of contradictions, nor was he a split personality, but he always remained different; he looked around and within himself and at the surrounding world, and he used his present thoughts and recollections. He had an utterly poetical mode of thought that enabled him to pursue such a complex course. Chagall was endowed with a sort of stylistic immunity: he enriched himself without destroying anything of his own inner structure. Admiring the works of others he studied them ingenuously, ridding himself of his youthful awkwardness, yet never losing his authenticity for a moment. 
      At times Chagall seemed to look at the world through magic crystal – overloaded with artistic experimentation – of the Ecole de Paris. In such cases he would embark on a subtle and serious play with the various discoveries of the turn of the century and turned his prophetic gaze like that of a biblical youth, to look at himself ironically and thoughtfully in the mirror. Naturally, it totally and uneclectically reflected the painterly discoveries of Cézanne, the delicate inspiration of Modigliani, and the complex surface rhythms recalling the experiments of the early Cubists (See-Portrait at the Easel, 1914). Despite the analyses which nowadays illuminate the painter’s Judaeo-Russian sources, inherited or borrowed but always sublime, and his formal relationships, there is always some share of mystery in Chagall’s art. The mystery perhaps lies in the very nature of his art, in which he uses his experiences and memories. Painting truly is life, and perhaps life is painting.

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  Profiles

  Kenneth Tynan

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  The only collection of Tynan's star-studded profiles, selected and edited by his widow and biographer, Kathleen Tynan, with a foreword by Simon Callow.
  Kenneth Tynan was the 20th century's most influential writer on theatre and performance. Over the course of his life he wrote a series of brilliant and incisive pen-portraits of many of the most significant performers and writers of his day.
  Amongst the fifty assembled here are profiles of actors such as Garbo, Bogart, Cagney, Olivier and Gielgud; the directors George Cukor, Peter Brook and Joan Littlewood; writers such as Bertolt Brecht, Arthur Miller and Tennessee Williams; and comedians as diverse as Mel Brooks, Eric Morecambe, W.C. Fields and Lenny Bruce.
  'We had thought to have seen the last of Tynan. Now, suddenly, a new volume appears: a collection of fifty profiles of the famous... More than a third of the pieces are new - at least in book form - which in itself is cause enough for dancing... One does not have to like theatre to cherish these pieces... It is a book to savour in small doses, the better to postpone the sadness of reaching its end' Hugh Leonard
  'Tynan was unique in that he combined the soul of an artist with the descriptive skill of a journalist... He was an ideal profile writer, as this book eloquently testifies' Michael Billington, Guardian

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