Cousins meet in Barcelona to do a summer internship at the Picasso Museum and are assigned a project that is top secret related to Picasso’s relationship with Salvador Dali. Solving the mysterious puzzle could have a resounding effect on the art community. There can be no mistakes made; validation has to be 100%. It is well known that Dali had one of the most creative and impulsive minds in art history so the twists and turns are weird and unpredictable. Enjoy learning about Pablo Picasso, Salvador and Gala Dali and Antoni Gaudi; all of whose works continue to be some of the most important in history. See if you can solve The Dali Mystery!
Sensible artistic advice and lively personal anecdotes in rare important work by famed Surrealist. Filled with Dali's outrageous egotism and unconventional humor, insights into modern art and his own drawings in the margins.
This startling early autobiography takes Dalí through his late 30s and "communicates the ... total picture of himself (Dalí) sets out to portray" — Books. Superbly illustrated with over 80 photographs and scores of drawings.
A Fast-Paced, Keep-You-Guessing Whodunit with a Dash of Romance When a valuable Salvador Dali painting belonging to her grandmother's friend is mysteriously replaced by a forgery, FBI Special Agent Serena Jones is called in to investigate. Serena hopes finding the thief will also mean finally measuring up to Nana's expectations. But when the evidence points to members of the owner's own household, it becomes increasingly clear that Serena won't be winning any popularity contests. The Dali isn't the only painting that's fallen prey to the forgery-replacing thief, raising the specter of a sophisticated theft ring--one with links to dirty cops, an aspiring young artist, and the unsolved murder of Serena's grandfather. With plenty of edge-of-your-seat moments, Another Day, Another Dali gives the plucky Serena Jones--and readers--a new high-stakes case to crack.
Jane Darrowfield is a year into her retirement, and she’s already traveled and planted a garden. She’s organized her photos, her recipes, and her spices. The statistics suggest she has at least a few more decades ahead of her, so she better find something to do . . . JANE DARROWFIELD, PROFESSIONAL BUSYBODY After Jane helps a friend with a sticky personal problem, word starts to spread around her bridge club—and then around all of West Cambridge, Massachusetts—that she’s the go-to girl for situations that need discreet fixing. Soon she has her first paid assignment—the director of a 55-and-over condo community needs her to de-escalate hostilities among the residents. As Jane discovers after moving in for her undercover assignment, the mature set can be as immature as any high schoolers, and war is breaking out between cliques. It seems she might make some progress—until one of the aging “popular kids” is bludgeoned to death with a golf club. And though the automatic sprinklers have washed away much of the evidence, Jane’s on course to find out whodunit . . .
A poetry debut that’s “a lush, lyrical book about a world where women are meant to carry things to safety and men leave decisively” (Henri Cole). Luminous and electric from the first line to the last, Allison Adair’s debut collection navigates the ever-shifting poles of violence and vulnerability with a singular incisiveness and a rich imagination. The women in these poems live in places that have been excavated for gold and precious ores, and they understand the nature of being hollowed out. From the midst of the Civil War to our current era, Adair charts fairy tales that are painfully familiar, never forgetting that violence is often accompanied by tenderness. Here we wonder, “What if this time instead of crumbs the girl drops / teeth, her own, what else does she have”? The Clearing knows the dirt beneath our nails, both alone and as a country, and pries it gently loose until we remember something of who we are, “from before . . . from a similar injury or kiss.” There is a dark beauty in this work, and Adair is a skilled stenographer of the silences around which we orbit. Described by Henri Cole as “haunting and dirt caked,” her unromantic poems of girlhood, nature, and family linger with an uncommon, unsettling resonance. Winner of the 2019 Max Ritvo Poetry Prize Praise for The Clearing “A dark and bodily nod to folk- and fairy-tale energy.” —Boston Globe “The poems in Adair’s debut draw on folklore and the animal world to assert feminist viewpoints and mortal terror in lush musical lines, as when “A fat speckled spider sharpens / in the shoe of someone you need.” —New York Times Book Review, “New & Noteworthy Poetry” “Like Grimms’ fairy tales, Adair’s poems are dark without being bleak, hopeless, or disturbing. Readers will find the collections lush language and provocative imagery powerfully resonant.” —Publishers Weekly (Starred Review)
Corpses mark surrealism's path through the twentieth century, providing material evidence of the violence in modern life. Though the shifting group of poets, artists, and critics who made up the surrealist movement were witness to total war, revolutionary violence, and mass killing, it was the tawdry reality of everyday crime that fascinated them. Jonathan P. Eburne shows us how this focus reveals the relationship between aesthetics and politics in the thought and artwork of the surrealists and establishes their movement as a useful platform for addressing the contemporary problem of violence, both individual and political. In a book strikingly illustrated with surrealist artworks and their sometimes gruesome source material, Eburne addresses key individual works by both better-known surrealist writers and artists (including André Breton, Louis Aragon, Aimé Césaire, Jacques Lacan, Georges Bataille, Max Ernst, and Salvador Dalí) and lesser-known figures (such as René Crevel, Simone Breton, Leonora Carrington, Benjamin Péret, and Jules Monnerot). For Eburne "the art of crime" denotes an array of cultural production including sensationalist journalism, detective mysteries, police blotters, crime scene photos, and documents of medical and legal opinion as well as the roman noir, in particular the first crime novel of the American Chester Himes. The surrealists collected and scrutinized such materials, using them as the inspiration for the outpouring of political tracts, pamphlets, and artworks through which they sought to expose the forms of violence perpetrated in the name of the state, its courts, and respectable bourgeois values. Concluding with the surrealists' quarrel with the existentialists and their bitter condemnation of France's anticolonial wars, Surrealism and the Art of Crime establishes surrealism as a vital element in the intellectual, political, and artistic history of the twentieth century.
Published in conjunction with the exhibition ... held at the Museum of Modern Art, New York, Sept. 28, 2013-Jan. 12, 2014, the Menil Collection, Houston, Feb. 14-June 1, 2014, and at the Art Institute of Chicago, June 29-Oct. 12, 2014.
