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In the 1980s, when the American art market flourished, critics were heavily concerned with theory. In The Aesthete in the City David Carrier offers a personal view on the artistic activity of that decade. He begins with a theoretical perspective on the relationship between two very different forms of artwriting: art criticism and art history writing. Carrier surveys the developments within theory during the 1980s, focusing on constructive critical analysis of the then fashionable work of Jean Baudrillard, Walter Benjamin, T. J. Clark, and Jacques Derrida. He provides detailed accounts of a number of painters, among them Thomas Nozkowski, David Reed, and Sean Scully, whose development he followed closely. Carrier argues that the greatest American artistic tradition, Abstract Expressionism, provides the basis for an ongoing tradition of abstract painting, a rich system whose potential has not yet been exhausted. Carrier's earlier work was concerned with a philosophical study of the methods of art criticism. This book turns to the theory and practice of art criticism, concentrating on a concrete discussion of individual theorists and artists.

Designed as a functional piece but also an objet d’art this 222 onyx tray is made in Europe from onyx stone. The tray emphasises the materiality of the stone it is carved from and the beauty of its natural veins. Hand carved by artisans, each tray has its own unique colour and pattern, varying in intensity and arrangement due to natural quartz formations within the stone. The Mauve Sky onyx may have mauve, citrine, lavender, plum or blush shades running through, or variations of those, therefore no two are ever the same. Naturally occurring quartz formations and fissures can be present within the stone, these are in no way defects but are inherent properties of the material and its unique patina. Clean with a soft damp cloth. As with all natural stones, acidic fruits or cleaners can damage the surface.

The Scallop tray crafted in midnight hour elevates any space with its stunning natural texture and scallop detail edge. The perfect accessory for the home. Use it as a catchall for jewellery on a nightstand, in a bathroom for cosmetics or on a coffee table or desk, the possibilities are endless. It’s bound to become a forever piece. Available in a variety of stones. Hand-sculpted by artisans, unique pattern and veining variations should be expected as this is a handmade product crafted from natural stone. Colour and sizes may vary. CARE - Wipe using a soft dry cloth. Citrus fruits and vinegar can damage the surface of travertine.

, 416 pages, with frontispiece and illustrations throughout

The book is As New. The complete jacket has a small strip of light sunning and a few marks on the rear.

In this delightful sequel to Memoirs of an Aesthete Harold Acton continues where he left off in 1939. Packed with recollections of the famous personalities he knew such as the Sitwells, Norman Douglas, Bernard Berenson, Gertrude Stein and Evelyn Waugh, this book brilliantly evokes a society that now seems remote.

Elegant and classic, the Luna Scallop tray expertly crafted in grey and white luxury marble elevates any space with its stunning natural texture and scallop detail edge. Slabs of Statuario marble from the hills of Tuscany were chosen specifically for its striking grey veins and white background, this timeless and sophisticated marble named Luna by the Romans and used by them in both sculpture and building is still favoured by architects to this day. The Luna scallop tray is the perfect accessory for the home. Use it as a catchall for jewellery on a nightstand, in a bathroom for organising cosmetics or on a coffee table or desk, the possibilities are endless. It’s bound to become a forever piece. Hand-sculpted by artisans, unique pattern and veining variations should be expected CARE - Wipe using a soft dry cloth. Citrus fruits and vinegar can damage the surface of marble. Made in: India

Unread book in perfect condition.

Book is in Used-VeryGood condition. Pages and cover are clean and intact. Used items may not include supplementary materials such as CDs or access codes. May show signs of minor shelf wear and contain very limited notes and highlighting. 1.66

In this remarkable book, Harold Acton writes a witty and vivid account of his first thirty-five years of his life from his boyhood among the international colony of dilettanti in Florence before the First World War, to his maturity when he discovered his spiritual home in Peking before the old Chinese culture was destroyed. Between the two, he was one of the brilliant generation up at Oxford just after the war and afterwards moved to Paris where he knew many of the literary and artistic figures of the time. It is an outstanding memoir, rightly regarded as a classic.

Go on a journey with Robert O’Byrne as he brings fascinating Irish ruins to life.Fantastical, often whimsical, and frequently quirky, these atmospheric ruins are beautifully photographed and paired with fascinating text by Robert O’Byrne. Born out of Robert’s hugely popular blog, The Irish Aesthete, there are Medieval castles, Georgian mansions, Victorian lodges, and a myriad of other buildings, many never previously published. Robert focuses on a mixture of exteriors and interiors in varying stages of decay, on architectural details, and entire scenarios. Accompanying texts tell of the Regency siblings who squandered their entire fortune on gambling and carousing, of an Anglo-Norman heiress who pitched her husband out the window on their wedding night, and of the landlord who liked to walk around naked and whose wife made him carry a cowbell to warn housemaids of his approach. Arranged by the country’s four provinces, the diverse ruins featured offer a unique insight into Ireland and an exploration of her many styles of historic architecture.

In this remarkable book, Harold Acton writes a witty and vivid account of his first thirty-five years of his life from his boyhood among the international colony of dilettanti in Florence before the First World War, to his maturity when he discovered his spiritual home in Peking before the old Chinese culture was destroyed. Between the two, he was one of the brilliant generation up at Oxford just after the war and afterwards moved to Paris where he knew many of the literary and artistic figures of the time. It is an outstanding memoir, rightly regarded as a classic.

Book is in NEW condition. 1.04

Small neat blind embossed stamp of a former owner else fine in dust wrapper. 272 pages

Published for the exhibition held at the National Portrait Gallery, this catalogue demonstrates that this little-known artist was not only one of the most gifted portrait painters in a long British tradition, but also an original and sensitive artist, whose work has a recognizably individual technique and strength of style.

Most critics of aestheticism focus on the Yellow Book, the glossy Victorian journal with the shocking yellow cover that counted among its contributors Aubrey Beardsley and Max Beerbohm. But one of the best-known aesthetes, Oscar Wilde, launched his own magazine, the Woman's World. The audience for Wilde's magazine reveals another side of the aesthetic movement that has been largely forgotten.Every now-canonical male aesthete once competed with what Talia Schaffer calls the female aesthetes, whose critical and popular success made them formidable contemporaries. Not only did these women make significant contributions to the development of feminist ideologies; they pioneered new literary strategies that were incorporated by their canonical successors.Schaffer analyzes writers who have never been considered together, including Lucas Malet (Mary Harrison), Ouida (Marie Louise de la Ramée), Alice Meynell, Rosamund Marriott Watson, Una Ashworth Taylor, Elizabeth Robins Pennell, Mary and Jane Findlater, and John Oliver Hobbes (Pearl Craigie). These women used aestheticism to forge a compromise between the two models of female identity available to them--the New Woman and the Angel in the House. They developed plots, ideas, and styles that would later be adopted, parodied, or revised by canonical writers such as Oscar Wilde, Virginia Woolf, Thomas Hardy, and Henry James. They used the "pretty" language of aestheticism as a strategic cover behind which they could attempt radical experiments, many of which prefigure modernist innovations.Recovering the lost work of the female aesthetes forces us to reconsider the central tenets of late-Victorian literary history.

Most critics of aestheticism focus on the Yellow Book, the glossy Victorian journal with the shocking yellow cover that counted among its contributors Aubrey Beardsley and Max Beerbohm. But one of the best-known aesthetes, Oscar Wilde, launched his own magazine, the Woman's World. The audience for Wilde's magazine reveals another side of the aesthetic movement that has been largely forgotten.Every now-canonical male aesthete once competed with what Talia Schaffer calls the female aesthetes, whose critical and popular success made them formidable contemporaries. Not only did these women make significant contributions to the development of feminist ideologies; they pioneered new literary strategies that were incorporated by their canonical successors.Schaffer analyzes writers who have never been considered together, including Lucas Malet (Mary Harrison), Ouida (Marie Louise de la Ramée), Alice Meynell, Rosamund Marriott Watson, Una Ashworth Taylor, Elizabeth Robins Pennell, Mary and Jane Findlater, and John Oliver Hobbes (Pearl Craigie). These women used aestheticism to forge a compromise between the two models of female identity available to them--the New Woman and the Angel in the House. They developed plots, ideas, and styles that would later be adopted, parodied, or revised by canonical writers such as Oscar Wilde, Virginia Woolf, Thomas Hardy, and Henry James. They used the "pretty" language of aestheticism as a strategic cover behind which they could attempt radical experiments, many of which prefigure modernist innovations.Recovering the lost work of the female aesthetes forces us to reconsider the central tenets of late-Victorian literary history.

A charming, often barbed observation of the evolution of American mainstream filmmaking over the course of its first century, this memoir chronicles the unusual, multidecade career trajectory of Curtis Harrington. Conveyed in a witty and campy style, it follows the strange arc of a man who created avant-garde films as part of Kenneth Anger’s inner circle, directed critically acclaimed and cult-adored horror films like Night Tide and Games, and then descended down the "slippery slope" of television work by directing episodes of Charlie’s Angels and Dynasty. As a fast-paced view of Harrington's journey through the kaleidoscope of the movie business, it acts alternately as personal memoir and cultural history from a veteran of the entertainment business. As Harrington was living as a gay man in Hollywood, the book additionally gives a rare peek into the hidden world of what was then an elite subculture. Doubling as both a serious study of film aesthetics and a gossipy tell-all, this truly unique look at the Hollywood dream includes an unlikely cast of characters, including Dennis Hopper, Christopher Isherwood, Shelley Winters, Marilyn Monroe, Stanley Kubrick, and Aaron Spelling, as it reveals a portrait of the machinations of the film and television business.

Unread book in perfect condition.

Item in good condition. Textbooks may not include supplemental items i.e. CDs, access codes etc.