Hokusai’s landscapes revolutionized Japanese printmaking and became icons of world art within a few decades of the artist’s death. Hokusai’s Landscapes focuses exclusively on this pivotal body of the artist’s work, the first book to do so. Featuring stunning color reproductions of works from the incomparable Japanese art collection at the Museum of Fine Arts, Boston (the largest collection of Japanese prints outside Japan), Hokusai’s Landscapes examines the magnetic appeal of Hokusai’s designs and the circumstances of their creation.
The best known of all Japanese artists, Katsushika Hokusai was active as a painter, book illustrator and print designer throughout his 90-year lifespan. Yet his most famous works―the color woodblock landscape prints issued in series―were produced within a relatively short time, in an amazing burst of creative energy that lasted from about 1830 to 1836.
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50 years ago, people used film cameras just as we use smartphones in the age of Instagram. They photographed their meals, holidays, loved ones, celebrations, and family reunions. Imagining the past lives of these strangers is the beauty and mystery of The Anonymous Project, which curates just under 300 images from this vast collection of 700,000+ Kodachrome slides. The places, dates, and people may be unknown, but the stories in these snapshots are universally familiar.
“If one imagines a list of the greatest, most influential houses of the twentieth century, it seems highly likely that the mid-century period will dominate,” writes Bradbury in the book’s introduction, going on to name such famous edifices as the three famous glass houses by Philip Johnson, Ludwig Mies van der Rohe, and Lino Bo Bardi, respectively; Richard Neutra’s Kaufmann House; and Luis Barragán’s Cuadra San Cristóbal. “One could, of course, go on.…” he writes.
Experienced outdoor enthusiasts and those lacing-up their boots for their first time: prepare to hike the diverse American landscape. Whether aiming to conquer epic expeditions, or simply complete a day hike to recharge, paths of every size await the intrepid wayfarer in Wanderlust USA, a book that serves as a blueprint for adventurous souls in search of new summits.
For the second year in a row, editors at The New York Times got together for a live taping of the podcast to discuss the Book Review’s list of the year’s 10 Best Books. “These are books that we think will endure, that will be looked at and read and consulted and referred to well after the year in which they were named,” says Pamela Paul, the editor of The New York Times Book Review, as part of her introductory remarks about what the editors look for in their selections.
The complementary pair—Onassis the sophisticate, and Simon the nervous hippie—were close until Onassis died in 1994. Over a sprawling conversation, Simon discussed seeing the “goofy” side of Onassis, what she misses about performing and what she envied about Onassis.
Jencks’s book grew out of his PhD thesis, supervised by Reyner Banham at the University of London in the late 1960s, and paved the way for his later, more explicitly polemical The Language of Post-Modern Architecture (1977). In this bestselling book, Jencks set out his stall for a pluralist architecture that rejected what he saw as modernism’s reductive ‘univalent’ approach, swapping it for a symbolically rich and historically engaged ‘multivalent’ postmodernism. For good or bad it became the defining book of its era, an unabashed rejection of mainstream modernism that ushered in a new architectural style.
Modern Movements in Architecture (1973) by Charles Jencks was one of the first books on architecture I read, a birthday present given to me the summer before I started my degree. In some ways, it spoiled things: I thought all architecture books would be that much fun. Modern Movements in Architecture is a complex and sophisticated history, but it wears its learning lightly. It relates architecture to a wider cultural discourse and it is unafraid to be critical, even of some architects, such as Mies van der Rohe, who were previously considered to be above criticism.
“Everywhere is the wait and the gathering,” concludes “Resort.” A kind of soporific haze has seeped into de Chirico’s imagination, asserted through evocations of sleeping and dreaming. Even the violence and ambiguous sexual imagery of “The Mysterious Night” yield to a final note of definitive somnolence: “Everything sleeps; even the owls and the bats who also in the dream dream of sleeping.”
He daydreams of Mexico or Alaska and invokes a future-oriented “avant-city” and a distant day where he is immortalized, albeit in an old-fashioned mode as a “man of marble.”
One of the most impressive aspects of the book is the wealth of contextual material, which never feels digressional but illuminatingly sets the scene for Hilliard’s remarkable life and achievement. His early life in Exeter; the family networks of goldsmiths in Devon and London; the political, religious and cultural worlds he would have encountered in London, Geneva, Paris and also – usually overlooked – in Wesel and Frankfurt; all make for compelling reading. This book is not just the definitive biography of Hilliard but essential reading for anyone interested in late 16th- and early 17th-century England.
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