Who was the enigmatic Jean Moulin, a man as skilled in deception as he was in acts of heroism? The memory of this French Resistance hero, who was betrayed to the Gestapo and tortured by Klaus Barbie, the infamous ''Butcher of Lyon'', is revered alongside that of other national icons. But Moulin''s story is full of unanswered questions and the truth of his life is far more complicated than the legend.
Patrick Marnham, winner of the Marsh Prize for biography, thrillingly tells the epic story of France''s greatest war hero, bringing to light the shadowy and often deceitful world of the French Resistance, and offers a shocking conclusion to one of the great unsolved mysteries of World War II.>
Street photography is perhaps the best-loved and most widely known of all photographic genres, with names like Cartier-Bresson, Brassai and Doisneau familiar even to those with a fleeting knowledge of the medium. Yet, what exactly is street photography? From what viewpoint does it present its subjects, and how does this viewpoint differ from that of documentary photography? Looking closely at the work of Atget, Kertesz, Bovis, Rene-Jacques, Brassai, Doisneau, Cartier- Bresson and more, this elegantly written book, extensively illustrated with both well-known and neglected works, unpicks Parisian street photography's affinity with Impressionist art, as well as its complex relationship with parallel literary trends and authors from Baudelaire to Philippe Soupault. Clive Scott traces street photography's origins, asking what really what happened to photography when it first abandoned the studio, and brings to the fore fascinating questions about the way the street photographer captures or frames those subjects - traders, lovers, entertainers - so beloved of the genre.In doing so, Scott reveals street photography to be a poetic, even 'picturesque' form, looking not to the individual but to the type; not to the 'reality' of the street but to its 'romance'.
From the fall of the Bastille to the rise of Napoleon, Paris was the stage for most of the greatest crises of the French Revolution. Indeed, for many historians, the Revolution was a distinctly Parisian phenomenon, restricted to the galleries of the Tuileries and the chambers of the Jacobin Club. But Paris was only one setting for a national terror which was frequently and painfully felt outside the capital. What happened during these momentous years beyond Paris? How did the revolution spread from the capital and how did it affect people living in the provinces?
In history, this grand arterial 1500-mile waterway was always seen as the natural frontier between the northern provinces of the Iranian empires and the outer Turanian lands. It was for centuries central to Achaemenid and later Persian power. But, as the author shows, it has a prehistory which goes very much further back: and a succession of skilled yet still elusive Bronze Age cultures flourished here well before the rise of Cyrus the Great in the 6th century BCE. This richly illustrated book explores the fascinating history, art and archaeology of the region, including its primal trade in silk and foodstuffs; the mineral wealth of the Oxus basin; its exotic myths and beliefs; and the converging tribes and peoples which led to a new stability, economic growth and urbanism. The volume contains 150 full-colour photographs of notable artefacts, including silver decorated vessels, inlaid stone pots, agate beads and 25 'Bactrian Princesses': remarkable statuettes made in chlorite and limestone. Most of these rare objects have never been seen, let alone published, before.
I.B.Tauris in association with the Institute of Ismaili Studies.
Emerging from a period of long seclusion, the leader of the burgeoning community of Ismaili Shi'i Muslims was declared the first Fatimid Imam-caliph in the year 909. Abd Allah al-Mahdi founded the only sustained Shi'i dynasty (909-1171) to rule over substantial parts of the medieval Muslim world, rivalling both the Umayyads of Spain and the Abbasids. At its peak, the Fatimid Empire extended from the Atlantic shores of North Africa, across the southern Mediterranean and down both sides of the Red Sea, covering also Mecca and Medina. This accessible history, the first of two volumes, tells the story of the birth and expansion of the Fatimid Empire in the 10th century. Drawing upon eyewitness accounts, Shainool Jiwa introduces the first four generations of Fatimid Imam-caliphs -- al-Mahdi, al-Qa'im, al-Mansur, and al-Mu'izz -- as well as the people who served them and those they struggled against. Readers are taken on a journey through the Fatimid capitals of Qayrawan, Mahdiyya, and Mansuriyya and on to the founding of Cairo. In this lively and comprehensive introduction, readers will discover various milestones in Fatimid history and the political and cultural achievements that continue to resonate today.
For nearly a century, members of the Dildilian family practiced the art of photography in Ottoman Turkey, Greece and the United States. This book contains over 300 photographs, most taken during the Ottoman era. The photos record a crucial half century of Armenian culture, with the earliest dating from 1888, when Tsolag Dildilian opened and operated the family business in central Anatolia, first in Sivas and later in Marsovan and Samsun, and the last taken in late 1930s Greece after the family's forced exile from their homeland in 1922. The photographs and the stories that unfold around them capture a defining period in the nearly 3,000-year history of the Armenians in Anatolia and the Armenian Highlands. The early- twentieth century witnessed the violent erasure of the Armenians from their historic homeland, with catastrophic effects for the Dildilian family and their community. Yet this was also a period of unprecedented educational, cultural and commercial development for the Armenians.
The Dildilian family was intimately involved in the triumphs and tragedies of these years and this book, through its rich pictorial history, sheds unprecedented light on the real-life experiences of Armenians in the devastating years of the Armenian Genocide and beyond. It is an unusual and original contribution to the social history of the Near East.
With such ancient beginnings, Zoroastrianism is as remarkably enduring as it is venerable. The principle religion of Iran until the Advent of Islam, it has also been influential beyond its own followers, interacting with other, younger faiths and shaping their views on the nature of evil, the coming of a saviour and the last days. The resonant message of Zarathustra (or Zoroaster), the founder of the religion, is encapsulated in its most sacred scripture, the Gathas, whose poetic power can still be appreciated today. This richly illustrated book explores many important themes of Zoroastrianism: its rise during the second millennium BCE, its doctrines, rituals and teachings, its growth into the foremost faith of the Achaemenid and Parthian empires, its consolidation under the Sasanians, its expansion east to China, and its impact on Judaism, Christianity and Islam. From Iran to the west coast of India, the story continues with the maritime exodus of the Zoroastrians and their settlement as an immigrant community (now called 'Parsis') under British colonial rule.
With chapters by world-leading authorities, this is a vital record of the art, literature and culture of one of the world's most fascinating religious traditions.
April 6, 1944. A detachment of German soldiers arrive in a rural French town, hunting down resistance fighters, many of whom are hiding in the region. More than sixty years later, the villagers clearly remember the day when four peasants from a nearby village were taken hostage and shot as an example to others. But do they remember the whole story? Jean-Marie Borzeix sets out to investigate the events of Holy Thursday 1944, and to reveal the hidden truths of that fateful day. He uncovers the story of a mysterious 'fifth man' shot alongside the resisters and eventually unravels a trail which leads him to Paris, Israel and into the darkest corners of the Holocaust in France. A captivating story, the events of this day in a small, entirely typical, town illuminate the true impact of World War II in France.
In Paris in the 1920's a new style was born, rejecting the embellishments of Art Nouveau and Art Deco, it allied the linear proportions of late eighteenth-century furniture to a twentieth-century perception, paring down superfluous detail to the essence of classic modernism. The ostensible creation of iconic interior decorator Jean-Michel Frank, the new style owed much to a circle of South American collectors and patrons, including Eugenia Errazuriz, a lifelong friend of Picasso and Stravinsky. This new study documents how their interchange of partners and ideas led to innovation in every field of the arts. Packed with fresh material and original insights on artists such as Man Ray, John Singer Sargent and Diaghilev.
Since the early 19th century, the bohemian has been the protagonist of the story the West has wanted to hear about its artists - a story of genius, glamour, and doom. This book analyzes the many shifting meanings that constitute bohemia and the bohemian. With a huge cast of real-life characters, from Chatterton to Jackson Pollock to Augustus John, she explores the bohemians eccentric use of dress, the role of sex and erotic love, the quest for excess, and their intransigent politics. She demonstrates how, rather than disappearing from Western culture, bohemia is at the core of the most heated cultural debates at the end of the second millennium.
At its height, the Napoleonic Empire spanned much of mainland Europe. Feted and feared by millions of citizens, Napoleon was the most powerful and famous man of his age. But following his defeat at the Battle of Waterloo the future of the one-time Emperor of France seemed irredeemably bleak. How did the brilliant tactician cope with being at the mercy of his captors? How did he react to a life in exile on St Helena - and how did the other inhabitants of that isolated and impregnable island respond to his presence there? And what tactics did he develop to preserve his legacy in such drastically reduced circumstances? Tracing events from the dramatic defeat at Waterloo to his death six years later, this is the first modern comprehensive account of the last phase of Napoleon's life. Drawing on many previously overlooked journals and letters, Brian Unwin has pieced together a remarkably vivid account of Napoleon's final years which also offers fresh insights into the character of this giant of European history.
Through his initial flight from the battlefield and his journey into exile on St Helena, Napoleon refused to accept that he would not be allowed to return to somewhere in Europe or even America. He railed against every aspect of his imprisonment and conspired to make life as difficult as possible for his unfortunate jailer, Hudson Lowe, whose impossible situation is sympathetically described here. Confined with him in the damp and confined Longwood House, life was also uncomfortable for those loyal companions who chose to journey with him into exile. Unsurprisingly for such a man of action, Napoleon bitterly resented being under constant supervision when he ventured outside his house and suffered acutely from boredom as much as from his physical ailments. Contrary to the strict wishes of the English he refused to accept any diminution in his status: 'Je ne suis pas le General Bonaparte, je suis L'Empereur Napoleon.' But gradually Napoleon came to think less about escape and more about how he would be remembered by future generations, spending hour after hour dictating the story of his campaigns to Count Las Cases, the companion who had travelled with him chiefly to act as his amanuensis. Terrible Exile brilliantly evokes the claustrophobic atmosphere of life on St Helena, offering a colourful and original history of the period as well as a persuasive psychological portrait of a great man in reduced circumstances. It will be essential reading for anyone with an interest in Napoleonic history and is an important addition to our understanding of the subject.
The image of Eugene Delacroix as an august artist with an august oeuvre was initially frozen into place by posthumous tributes and it has continued to the present. He was one of the finest yet least understood painters of the nineteenth century, the golden age of the French Romantic movement. He is remembered best for his masterpiece, La Liberte guidant le people, but few of his works have received the kind of constant, fascinated revisiting that has sealed the iconic status of Theodore Gericault's Le Radeau de la Meduse, for example. This book is one of the first to look carefully at individual paintings by Delacroix, especially at one of his most important works - a key but often overlooked painting from early Romanticism's heyday, Scene des massacres de Scio.
The grandeur and extravagance of the court of Napoleon I once surpassed even that of that Louis XIV, the Sun King. His palaces at Saint-Cloud and the Tuileries shimmered with walls of Lyons silk and exotic treasures gleaned from distant campaigns; it echoed with the rustle of jewel-encrusted gowns, the drums of military marches and the whispers of his courtiers' intrigues. This was the center of Napoleon's magnetic power, a dazzling reflection of the greatest empire in European history.
Army of The Night est le récit saisissant des années qu'a passé Jean Moulin au sein de la résistance, s'interrogeant sur les mystères qui entourent son arrestation par la Gestapo et plus généralement sur l'univers sombre et parfois traître de la résistance française.
The history of the Middle East is traditionally structured around the rise and fall of dynasties and states. The widely perceived view is that after the glories of an earlier golden age the region went into a steady and prolonged decline: populations decreased, ancient cities decayed and nomadism spread at the expense of civilized culture. In this pioneering text Peter Christensen challenges this story of decline. Long out of print but now reissued with a new introduction by the author, this important work is both a foundational text in the environmental history of the Middle East and a pioneering reassessment of traditional ideas about the historical processes of Iran and the Middle East region.
George Frederic Watts (1817-1904) was one of the nineteenth century's most celebrated British painters. Yet the thousands of drawings he produced during his career, either as studies for paintings or as independent works of art, have been the subject of surprisingly little research. Watts Gallery holds the largest collection of Watts's works on paper, comprising approximately 800 studies, sketches and finished artworks that represent one of the most complete records of a Victorian artist's development. These range from remarkable copies of engravings made when he was a mere ten years old to figurative sketches drawn shortly before his death at the age of 87. Elegant, technical, sensuous and ingenious, Watts's drawings offer unequalled insight into a great artistic imagination. Revealing the choices and changes he made as he developed some of his most celebrated works, the artist's drawings shed new light on his techniques, compositional decisions, and working processes. This book is the first in depth study of Watts's drawings.
The conquest of Egypt by Islamic armies under the command of Amr ibn al-As in the seventh century transformed medieval Egyptian society. Seeking to uncover the broader cultural changes of the period by drawing on a wide array of literary and documentary sources, Maged Mikhail stresses the cultural and institutional developments that punctuated the histories of Christians and Muslims in the province under early Islamic rule. From Byzantine to Islamic Egypt traces how the largely agrarian Egyptian society responded to the influx of Arabic and Islam, the means by which the Coptic Church constructed its sectarian identity, the Islamisation of the administrative classes and how these factors converged to create a new medieval society. The result is a fascinating and essential study for scholars of Byzantine and early Islamic Egypt.
The extraordinary creative energy of Renaissance Italy lies at the root of modern Western culture. In her elegant new introduction, Virginia Cox offers a fresh vision of this iconic moment in European cultural history, when - between the fourteenth and sixteenth centuries - Italy led the world in painting, building, science and literature. Her book explores key artistic, literary and intellectual developments, but also histories of food and fashion, map-making, exploration and anatomy. Alongside towering figures such as Leonardo da Vinci, Michelangelo, Raphael, Petrarch, Machiavelli and Isabella d'Este, Cox reveals a cast of lesser-known protagonists including printers, travel writers, actresses, courtesans, explorers, inventors and even celebrity chefs. At the same time, Italy's rich regional diversity is emphasised; in addition to the great artistic capitals of Florence, Rome and Venice, smaller but cutting-edge centres such as Ferrara, Mantua, Bologna, Urbino and Siena are given their due.
As the author demonstrates, women played a far more prominent role in this exhilarating resurgence than was recognized until very recently - both as patrons of art and literature and as creative artists themselves. 'Renaissance woman', she boldly argues, is as important a legacy as 'Renaissance man'.
The Battle of Hastings in 1066 is the one date forever seared on the British national psyche. It enabled the Norman Conquest that marked the end of Anglo-Saxon England. But there was much more to the Normans than the invading army Duke William shipped over from Normandy to the shores of Sussex. How a band of marauding warriors established some of the most powerful dominions in Europe - in Sicily and France, as well as England - is an improbably romantic idea. In exploring Norman culture in all its regions, Leonie V Hicks is able to place the Normans in the full context of early medieval society. Her wide ranging comparative perspective enables the Norman story to be told in full, so that the societies of Rollo, William, Robert (Guiscard) and Roger are given the focused attention they deserve. From Hastings to the martial exploits of Bohemond and Tancred on the First Crusade; from castles and keeps to Romanesque cathedrals; and from the founding of the Kingdom of Sicily (1130) to cross-cultural encounters with Byzantines and Muslims, this is a fresh and lively survey of one of the most popular topics in European history.
During the course of the 19th century, a relatively modern medium entered the private space of Iranian houses of the wealthy and became a popular feature of interior design in Persia. This was print media - lithographed images on paper and postcards - and their subject was European women. These idealised images adorned houses across the country throughout the Qajar period and this trend was particularly fashionable in Isfahan and mural decorations at the entrance gate of the Qaysarieh bazaar. The interest in images of Western women was an unusual bi-product of Iran's early political and cultural encounters with the West. In a world where women were rarely seen in public and, even then, were heavily veiled, the notion of European women dressed in - by Iranian standards - elegant and revealing clothing must have sparked much curiosity and some titillation among well-to-do merchants and aristocrats who felt the need to create some association, however remote, with these alien creatures. The introduction of such images began during the Safavid era in the 17th century with frescoes in royal palaces.
This spread to other manifestations in the form of tile work and porcelain in the Qajar era, which became a testament to the popularity of this visual phenomenon among Iran's urban elite in the 19th and early 20th century. Parviz Tanavoli, the prominent Iranian artist and sculptor, here brings together the definitive collection of these unique images. European Women in Persian Houses will be essential for collectors and enthusiasts interested in Iranian art, culture and social history.
This is the story of the House of Osman, the imperial dynasty that ruled the Ottoman Empire for more than seven centuries, an empire that once stretched from central Europe to North Africa and from Persia to the Adriatic. The capital of this empire was Istanbul, ancient Byzantium, a city that stands astride Europe and Asia on the Bosphorus. And it was in the great palace of Topkapi Sarayi that the sultans of this empire ruled. Inside the Seraglio a classic of Ottoman history takes us behind the gilded doors of the Topkapi and into the heart of the palace: the harem, where the sultan would surround himself with his wives, concubines, eunuchs, pages, dwarfs and mutes and where all the tempestuous events of empire were so often played out. This is the history of a remarkable palace in all its colour and opulence and the story of its influence on a great empire.
Troy: one of the most captivating and mysterious stories of antiquity...But was Troy an actual place or just a legend of Homer's epic? It took the most unlikely of people, Heinrich Schliemann - a grocer's-apprentice turned self-made archaeologist, courageous and driven - to solve one of the greatest puzzles in history. His extraordinary discovery of the ruins of fabled Troy and the magnificent treasure of King Priam anointed Schliemann as the 'father of pre-history', but was also beset by controversy that persists to this day. The fate of the treasure itself is no less troubled. In 1945 it was spirited out of Berlin by the Red Army, to be hidden for 50 years in the vaults of the Pushkin Museum until the breakup of the Soviet Union. In this fast-paced account, Caroline Moorehead describes one of the most remarkable adventures of the 20th century, tracing Schliemann's footsteps to Troy and the convoluted journey across Europe taken by the treasure itself.
Charles Sheeler was the stark poet of the machine age. Photographer of the Ford Motor Company and founder of the painting movement Precisionism, he is remembered as a promoter of - and apologist for - the industrialised capitalist ethic. This major new rethink of one of the key figures of American modernism argues that Sheeler's true relationship to progress was in fact highly negative, his 'precisionism' both skewed and imprecise. Covering the entire oeuvre from photography to painting and drawing attention to the inconsistencies, curiosities and 'puzzles' embedded in Sheeler's work, Rawlinson reveals a profound critique of the processes of rationalisation and the conditions of modernity. The book argues finally for a re-evaluation of Sheeler's often dismissed late work which, it suggests, may only be understood through a radical shift in our understanding of the work of this prominent figure.
