A look at the sculptor's life and views is offered through letters and pictures drawn for family and friends over a thirty-year period

Letters from H.C. Westermann

Arts & Photography

Timken Pub

Eva Hesse: Sculpture

Barrette, Bill

Sculpture

Geometric Games: Constructivist Art in the Sixteenth and Seventeenth Centuries (Library of Visual Sources)

Focuses on the wall paintings and reliefs in the tombs of the Valley of the Kings, describing their appearance and interpretation, and calls attention to their potential destruction from such causes as tourism

The Valley of the Kings: Horizon of Eternity

Hornung, Erik

History & Criticism

Egypt: Reflections on Continuity

History

Pare, Richard

Middle East

Father Louie: Photographs of Thomas Merton

Photographs of the influential Trappist monk are accompanied by his correspondence with the photographer and a brief look at their friendship

Meatyard, Ralph Eugene

Reference

This volume grew out of a series of lectures delivered to audiences with no special background in Egyptology. While each of the chapters and dresses a separate topic, their shared aim is to convey a sense of the richness, the variety, and the fundamental character of the ancient Egyptian imagination. The book is an introduction to the Mind of Egypt. As far back as the third millennium B.C. the Egyptians were investigating questions that concern us still - questions about being and non-being, about the meaning of death, about the nature of the cosmos and of man, about the basis of human society and the legitimization of power. The Egyptians knew that their answers could never be definitive, and this flexible and pluralistic approach is the essence of their philosophical position. The idea that there is no single answer, that everything is flow and every answer provisional, is worth exploring today in an age that has focused attention on fragmentation while continuing to cling to a history of absolutes. Idea into Image also includes a number of black-and-white photographs by Bill Barrette, which illustrate in concrete visual terms the abstract concepts explored in Hornung's essays.

Idea into Image: Essays on Ancient Egyptian Thought

Ancient Civilizations

Eva Hesse Sculpture

Individual Artists

Gathers letters written by Samuel Johnson, Nikolai Gogol, George Sand, Louisa May Alcott, Mark Twain, Walt Whitman, Hermann Hesse, James Joyce, Marcel Proust, Edna St. Vincent Millay, Isak Dinesen, Ernest Hemingway, Sylvia Plath, and Wallace Stegner

Letters Home: Celebrated Authors Write to Their Mothers

Literature & Fiction

In 1910, Henry Clay Frick purchased Rembrandt van Rijn's The Polish Rider for his private collection. Ever since, the painting has hung - undisturbed and uncontested - on the wall of Frick's Fifth Avenue mansion in New York City. There, year in and year out, it has beguiled thousands of visitors. The painting's subject matter has been debated over the years - but never its author, or its impact on viewers, many of whom think it not just a Rembrandt but one of the finest paintings the master executed during his long, prolific career. In 1968, a group of Dutch scholars known as the Rembrandt Research Project, feeling that the master's oeuvre was inflated, began to take Rembrandt to task. The group's members traveled around the world, subjecting Rembrandt to intense scrutiny: they x-rayed paintings; examined the rendering of lace, hands, and signatures; counted threads of warp and woof. Paintings long considered Rembrandts started to fall. Then, in 1984, one of the members of the Project suggested, in print, that The Polish Rider might be next. Perhaps this painting, "one of the world's masterpieces," wasn't a Rembrandt after all but the work of a lesser-known pupil, Willem Drost. Deattribution of a Rembrandt makes front-page news and sends shock waves through the community of art historians, museum curators, and private collectors. A painting, once worth ten million dollars, sells at auction for a mere eight hundred thousand; one that was the centerpiece of a museum collection is moved to the basement. Yet the paintings themselves do not change - whether they are attributed to Rembrandt van Rijn or Isack Jouderville. In a lively and accessible discussion, novelist and essayist Anthony Bailey presents the drama of The Polish Rider's threatened deattribution. With the painting as a springboard, Bailey explores basic issues of art history, authenticity, and connoisseurship, and discusses the difficulties involved when a single person or committee attempts to reach definitive conclusions on matters of authorship and creative genius.

Responses to Rembrandt

BAILEY, Anthony

Rembrandt Harmenszoon Van Rijn

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