Best Selling Books by John Richardson

This classic work of scholarship provides a detailed analysis of the cultures and languages of the Middle East and Central Asia. With insights into everything from Arabic poetry to Persian cuisine, this book is a must-read for anyone interested in the rich and varied history of the region. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Old Growler thinks his soccer days are well and truly over, but he decides to offer his coaching services to the local cubs so that they can challenge the Dirty Dogs. When the two teams meet, the Dirty Dogs soon discover that Old Growler is still a force to be reckoned with.

John Richardson draws on the same combination of lively writing, critical astuteness, exhaustive research, and personal experience which made a bestseller out of the first volume and vividly recreates the artist''s life and work during the crucial decade of 1907-17 - a period during which Pablo Picasso and Georges Braque invented Cubism and to that extent engendered modernism. Richardson has had unique access to untapped sources and unpublished material. By harnessing biography to art history, he has managed to crack the code of cubism more successfully than any of his predecessors. And by bringing a fresh light to bear on the artist''s often too sensationalised private life, he has succeeded in coming up with a totally new view of this paradoxical man of his paradoxical work. Never before has Picasso''s prodigious technique, his incisive vision and not least his sardonic humour been analysed with such clarity.

Sir John Richardson (1787-1865), surgeon, naturalist and Arctic explorer, went on Sir John Franklin''s first two Arctic expeditions as ship''s doctor and naturalist, and made observations and collected a large number of plant and animal specimens from the Canadian Arctic. On his return to England after the second expedition he began to write this four-volume work of natural history, first published between 1829 and 1837. A volume is dedicated to each of the classes of mammal, bird, fish and insect, which are found in the Canadian Arctic. This work is an interesting example of pre-Darwinian natural history, full of detailed descriptions of the appearance, anatomy and behaviour of the different species. Volume 3 was first published in 1836 and is devoted to the species of fish found in the Canadian Arctic. It contains many detailed illustrations, and discussions of the similarities between different species of fish.

John Richardson is an Oscar-winning special effects supervisor and designer, who has been involved in over 100 movies, including nine James Bond adventures, all eight Harry Potter films, Aliens, Superman, A Bridge Too Far, Straw Dogs, The Omen, Cliffhanger, Far and Away, Willow . . . and many, many more. In creating the magic that flows through these films – by creating huge explosions, beheading people, producing futuristic gadgets, making a man fly or breathing life into creatures that amaze and haunt us – Richardson has come to hold a unique place in cinema history. The son of pioneering FX technician Cliff Richardson, he learned his trade at the feet of a master of the craft. With over five decades of adventures under his belt, and a vast photographic collection of unseen pictures, Richardson now lifts the lid on his exciting and fascinating career of making movie magic.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Galería de retratos de algunas de las figuras creativas que el autor trató a lo largo de su carrera profesional como crítico de arte.

In the second volume of his Life of Picasso, Richardson reveals the young Picasso in the Baudelairean role of “the painter of modern life.” Never before have Picasso’s revolutionary vision, technical versatility, prodigious achievements, and, not least, his sardonic humor been analyzed with such clarity. Hence his great breakthrough painting, Les Demoiselles d’Avignon, with which this book opens. As well as portraying Picasso as a revolutionary, Richardson analyzes the more compassionate side of his genius. The misogynist of posthumous legend turns out to have been surprisingly vulnerable—more often sinned against than sinning. Heartbroken at the death of his mistress Eva, Picasso tried desperately to find a wife. Richardson recounts the untold story of how his two great loves of 1915–17 successively turned him down. These disappointments, as well as his horror at the outbreak of World War I and the wounds it inflicted on his closest friends, Braque and Apollinaire, shadowed his painting and drove him off to work for the Ballets Russes in Rome and Naples—back to the ancient world. In this volume we see the artist’s life and work during the crucial decade of 1907–17, a period during which Picasso and Georges Braque devised what has come to be known as cubism and in doing so engendered modernism. Thanks to the author’s friendship with Picasso and some of the women in his life, as well as Braque and their dealer, D. H. Kahnweiler, and other associates, he has had access to untapped sources and unpublished material. In The Cubist Rebel, Richardson also introduces us to key figures in Picasso’s life who have been totally overlooked by previous biographers. Among these are the artist’s Chilean patron, collector, and mother figure, Eugenia Errázuriz, as well as two fiancées: the loveable Geneviève Laporte and the promiscuous bisexual painter Irène Lagut. By harnessing biography to art history, he has managed to crack the code of cubism more successfully than any of his predecessors. And by bringing fresh light to bear on the artist’s private life, he has succeeded in coming up with a new view of this paradoxical man and of his paradoxical work. Never before have Picasso’s revolutionary vision, technical versatility, prodigious achievements, and, not least, his sardonic humor been analyzed with such clarity.

''A masterpiece'' Sunday Times ''Magisterial... thrilling'' Guardian ''Terrifically enjoyable'' Daily Telegraph The beautifully illustrated, long-awaited final volume of John Richardson''s magisterial Life of Picasso, drawing on original research from interviews and never-before-seen material in the Picasso family archives. The Minotaur Years opens in 1933 with a visit by the Hungarian-French photographer Brassaï to Picasso''s château in Normandy, Boisgeloup, where he would take his iconic photographs of the celebrated plaster busts of Picasso''s lover Marie-Thérèse Walter. Picasso was contributing to André Breton''s Minotaur magazine and spending time with the likes of Man Ray, Salvador Dalí, Lee Miller, and the poet Paul Éluard, in Paris and the south of France. It was during this time that Picasso began writing surrealist poetry and became obsessed with the image of himself as the mythic Minotaur. Richardson shows us the artist being as prolific as ever, painting Walter, as well as the surrealist photographer Dora Maar, who became a muse, collaborator and lover. The bombing of Guernica in April 1937 would inspire Picasso''s vast masterwork of the same name, which he painted in just a few weeks for the Spanish Pavilion at the Paris World''s Fair. When the Nazis occupied Paris in 1940, Picasso chose to remain in the city despite the threat that his art would be confiscated. In 1943, Picasso met Françoise Gilot who would replace Maar and inspire a brilliant new sequence of paintings. As always, Richardson tells Picasso''s story through his work, analysing how it shows what the artist was feeling and thinking. His fascinating and illuminating narrative immerses us in one of the most exciting moments in twentieth-century cultural history, and brings to a close the definitive and critically acclaimed biography of one of the world''s most celebrated artists.

Contains journal of Richardson''s and Dr. John Rae''s 1848 expedition in search of Franklin expedition down Mackenzie River and east to Coppermine River. Includes chapters on Eskimos; Kutchin, Cree, and Chipewyan Indians; and Rae''s descent of Coppermine River in 1849, also vocabularies of native languages.

This series acts as an introduction to key artists and movements in art history. Each title contains 48 full-page colour plates, accompanied by extensive notes, and numerous comparative illustrations in colour or black and white, a concise introduction, select bibliography and detailed source information for the images. Monographs on individual artists also feature a brief chronology.