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Prints and the Pursuit of Knowledge in Early Modern Europe.
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I make prints and visual books. I founded Bridge Press, now in Kennebunk, Maine, 1989 to publish limited edition artist's books and etchings. The name of the press underscores the collaborative nature of book making. Visual books offered possibilities for the continuity, connection, and unfolding of images—each image is complete yet linked to every other through the structure of the book. Books seemed an ideal vehicle to assemble and connect my prints, to order and unfold a sequence of images, with defined and recurrent shapes, motifs, and composition, and to create a setting in which each image is complete yet linked to every other through the structure of the binding or enclosure.
An endlessly fascinating and extensive compendium of reproductions of photographs, diagrams, charts, maps, paintings – bizarre, sublime, caustic, illuminating – from the ancients to the modern era. Each image retains something of its historical context, yet they are arrayed with a compelling visual logic by a brilliant visual editor.
An exploration of echoes and resonances across two millennia of visual culture, celebrating ten years of The Public Domain Review.
Gathering a remarkable collection of over 500 public domain images, Affinities is a carefully curated visual journey illuminating connections across more than two thousand years of image-making. Drawing on a decade of archival immersion at The Public Domain Review, the book has been assembled from a vast array of sources: from manuscripts to museum catalogues, ship logs to primers on Victorian magic. The images are arranged in a single captivating sequence which unfurls according to a dreamlike logic, through a…
I make prints and visual books. I founded Bridge Press, now in Kennebunk, Maine, 1989 to publish limited edition artist's books and etchings. The name of the press underscores the collaborative nature of book making. Visual books offered possibilities for the continuity, connection, and unfolding of images—each image is complete yet linked to every other through the structure of the book. Books seemed an ideal vehicle to assemble and connect my prints, to order and unfold a sequence of images, with defined and recurrent shapes, motifs, and composition, and to create a setting in which each image is complete yet linked to every other through the structure of the binding or enclosure.
Ellcock curated a remarkable selection of images that are provocative, transformative, and universal – an anthology of archetypes, scanning the world’s vast catalog of visual images from cultures, religions, time periods, political viewpoints, and media. I don’t know a more comprehensive anthology of moral, political, environmental, social, and cultural images, all vivid, challenging, and eternally relevant.
Stephen Ellcock, one of the world's most beloved digital curators, presents a collection of radically beautiful and provocative images designed to inspire reflection, revelation, and transformation.
Stephen Ellcock pairs hundreds of images, icons, and symbols spanning three thousand years of artistic creation with quotes from activists and writers to provoke reflection, revelation, and transformation. This eye-opening compendium highlights the environmental challenges facing our planet and the social injustice rampant in our societies, while offering hope that a better world is within our grasp. The artwork includes archival images from prominent and obscure artists, Renaissance paintings, counter-cultural iconography, documentary photography, and…
I make prints and visual books. I founded Bridge Press, now in Kennebunk, Maine, 1989 to publish limited edition artist's books and etchings. The name of the press underscores the collaborative nature of book making. Visual books offered possibilities for the continuity, connection, and unfolding of images—each image is complete yet linked to every other through the structure of the book. Books seemed an ideal vehicle to assemble and connect my prints, to order and unfold a sequence of images, with defined and recurrent shapes, motifs, and composition, and to create a setting in which each image is complete yet linked to every other through the structure of the binding or enclosure.
This book brilliantly revives the concept of cosmography, the visual depiction of the universe, from the beginnings of Romanticism to images from the Hubble telescope. By intermingling images from art and science, the book underscores the powerful visual parallels between the two disciplines, their discoveries equally strange, wondrous, and insightful.
From Galileo to Yves Klein the cosmos has been the inspiration for generations of artists, architects and designers. Their multifacetted cosmic visions are the subject of this original volume.
Forthcoming eclipses coming up in Australia include that of 22 July 2028, which will cross Australia from the Northern Territory to Sydney, home of the internationally famous sights of the Harbour Bridge and the Opera House. Eclipse Chasers will act as a guidebook for both locals and international visitors, giving…
I make prints and visual books. I founded Bridge Press, now in Kennebunk, Maine, 1989 to publish limited edition artist's books and etchings. The name of the press underscores the collaborative nature of book making. Visual books offered possibilities for the continuity, connection, and unfolding of images—each image is complete yet linked to every other through the structure of the book. Books seemed an ideal vehicle to assemble and connect my prints, to order and unfold a sequence of images, with defined and recurrent shapes, motifs, and composition, and to create a setting in which each image is complete yet linked to every other through the structure of the binding or enclosure.
As a printmaker and student of the history and techniques of printmaking, this is my “desert island” volume, the most comprehensive, literate, knowledgeable, and articulate statement on this influential, historically significant, and often overlooked art form. Eichenberg, himself a brilliant and trenchant wood engraver, book illustrator, and political commentator, shows himself to be an eloquent historian, scholar, and interpreter of various printmaking media, not only in Europe and the Americas, but throughout the world, in its long history.
As a history major and artist I noticed a style of illustrations and paintings that popped up in history books, novels, and poetry collections. I found that the paintings and drawings were just scratching the surface. The lives and struggles of the artists known as Pre-Raphaelites were just as intriguing as the art. I have traveled to the many locations that the Pre-Raphaelites frequented to follow in their footsteps. I've even tried to copy their wet white painting style and was awed by the patience they must have had. I appreciate many art styles and enjoy being transported into the lives of the artists by authors as interested in art and history as I am.
As Peter Bruegel stands in the Sistine Chapel admiring Michelangelo’s work he realizes he could never compete with one who works in the heavens – above. He will confine himself to the below – the common man. We follow Bruegel and his friends on his journeys, his daily life, and the inspiration he finds in the everyday world around him. His peasants are peasants. Their daily toil is not romanticized. Their feasts consist of rural fare. Even his religious art is not idealized. It is wonderful to imagine that the author has walked in Bruegel's shoes. Rudy Rucker is a professor of math and computer science but his extensive research has brought to life an artist who left very little of his own life to history.
Peter Bruegel's paintings - a peasant wedding in a barn, hunters in the snow, a rollicking street festival, and many others - have long defined our idea of everyday life in 16th Century Europe. In sixteen chapters Rucker brings Bruegel's painter's progress and his colourful world to vibrant life doing for Bruegel what GIRL WITH A PEARL EARRING did for Vermeer. We follow the artist from the winding streets of Antwerp and Brussels to the glowing skies and decaying monuments of Rome.
I am an Emeritus Professor of Early Modern History at the University of East Anglia and a Fellow of the Royal Historical Society. I taught history for many years at several UK universities, and I was the Director of Studies in History at Churchill College, Cambridge. I am the author of six books, including Hellish Nell: Last of Britain’s Witches and Witchcraft: A Very Short Introduction. His latest book, The Ruin of All Witches: Life and Death in the New World, will be published in November by Penguin. I live in Cambridge, England, and I am married with three children.
Originally published in 1970, this was another foundational text for me and other witchcraft scholars of my generation.
It grew out of Macfarlane’s doctoral thesis focusing on Essex, which had been supervised by Keith Thomas, whose own great book, Religion and the Decline of Magic (much of which dealt with witches), came out the following year. Even then, the historian Macfarlane was on his way to becoming an anthropologist – a transition visible on every page of this fascinating book.
But its overriding character is that of a work of sociology. Social science models helped to impose interpretative order on the kind of archival information dug up by C. L’Estange Ewen, and connected a rise in witchcraft accusations to a number of strains in late-sixteenth- and early seventeenth-century English life, especially economic strains.
Although their interpretations differ in substance and emphasis, Macfarlane and Thomas are still associated with a paradigm…
This is a classic regional and comparative study of early modern witchcraft. The history of witchcraft continues to attract attention with its emotive and contentious debates. The methodology and conclusions of this book have impacted not only on witchcraft studies but the entire approach to social and cultural history with its quantitative and anthropological approach. The book provides an important case study on Essex as well as drawing comparisons with other regions of early modern England. The second edition of this classic work adds a new historiographical introduction, placing the book in context today.
I still remember the day I discovered the family atlas (I must have about five; it then lived in my room, and my dad was probably irked, but too kind and encouraging to show it). Since then, I have been mesmerized by maps. How lucky I am to turn an early passion into a focus of research and teaching (I am a Classicist and Historian of Ancient Science). My publications include studies of narrative maps in Greco-Roman literature (they too were mesmerized by maps). You can find maps in the most unexpected places!
Finally, you can’t talk about maps and not talk about sea monsters.
Want to buy a sea monster? Van Duzer tells you how! Given my professional (and personal) interest in cartography, water, sailing, and animals, this book absolutely had to appear on my “Best Books” list. It is very richly illustrated (115 color images), but is not simply a picture book.
Van Duzer’s narrative is engaging and informative. He explores terrifying and whimsical marine creatures that peopled Medieval and Renaissance waters (many are imaginary; some are more or less based on actual sea animals). And he situates them within the broader context of the individual maps, their impact, and marine biology.
Van Duzer thus helps his audience read European Medieval and Renaissance Maps more fully and richly.
The sea monsters on medieval and Renaissance maps, whether swimming vigorously, gambolling amid the waves, attacking ships, or simply displaying themselves for our appreciation, are one of the most visually engaging elements on these maps, and yet they have never been carefully studied. The subject is important not only in the history of cartography, art, and zoological illustration, but also in the history of the geography of the 'marvellous' and of western conceptions of the ocean. Moreover, the sea monsters depicted on maps can supply important insights into the sources, influences, and methods of the cartographers who drew or painted…
I have been to Europe a handful of times, exploring Paris, Italy, Malta, Spain, Prague, Vienna, Budapest, and Amsterdam. Europe lends itself perfectly to be immortalised in literature. The continent is steeped in thousands of years of charming history, oozing out of the cobblestoned streets and painted in layers on the buildings. Scratch the surface and a new, richer layer comes to the fore, exciting and amazing anew. Europe inevitably turns into one of the important characters in any book set there and many a writer have managed to capture its essence in their work. Alongside Peter Sarstedt, Europe inspired my work, taking the reader along on a wondrous journey.
To be honest, this one is close to being a travel book. Rick Steves is a well-known traveler, with a large number of guide books and television shows sharing his exploits with the world. But, this book describes Europe in a way that no travel guide can. Rick is a master of sharing anecdotes of his travels through Europe, never failing to describe the flavours, sights, and sounds of the continent and the wonderful cities we all yearn to see. This was a wonderful escape during the 2020 lockdowns, a true lifesaver!
After 40+ years of writing about Europe, Rick Steves has gathered 100 of his favorite articles and essays together into one inspiring collection: For the Love of Europe: My Favorite Places, People, and Stories.
Join Rick as he's swept away by a fado singer in Lisbon, learns the dangers of falling in love with a gondolier in Venice, and savors a cheese course in the Loire Valley. Contemplate the mysteries of centuries-old stone circles in England, dangle from a cliff in the Swiss Alps, and hear a French farmer's defense of foie gras.
With a brand-new, original introduction from Rick…
Long before I started my career in journalism I was a voracious reader of historical novels. I devoured epic adventure about medieval Europe and eventually got involved in European martial arts: fighting in full armour in tournaments and melees. My love of history finally won out over my day job of defence reporting and I began penning novels. The books I most enjoy are more than just battle tales, they’re about people. Good historical fiction isn’t just about the history. It needs more than volleys of arrows and swinging swords, it needs characters you care about. These books combine authenticity with passionate, compelling writing and unique characters you won’t soon forget.
Like the Vikings? Want to read about realVikings? Angus Donald’s first in a series takes you to the harsh realities of 8th century Europe and portrays the Vikings in all their aspects, both violent and noble.
He wears his impeccable research lightly though and it’s an explosive journey that is most compelling when dealing with the culture clash between Charlemagne’s growing empire and the Viking Dane warriors who listen to the beat of their own drum.
“Beserkers” were a caste of Vikings who would supposedly work themselves into a fearsome frenzy of blood rage in battle. But Donald goes deeper than stereotypes, showing the mystical and religious underpinnings of this class of warrior and in so doing bringing reason, emotion, and honor to their struggles.
'Donald is a writer not only at the top of his game, but of the game' Giles Kristian, author of the Raven series 'Donald delivers a masterclass' Theodore Brun, author of A Burning Sea 'A gory, gleeful treat' The Times
The greatest warriors are forged in the flamesTwo pagan fighters
771AD, Northern Europe. Bjarki Bloodhand and Tor Hildarsdottir are journeying south into Saxony. Their destination is the Irminsul, the One Tree that links the Nine Worlds of the Middle-Realm. In this most holy place, they hope to learn how to summon their animal spirits so they can enter the ranks…
Gaming led to my career as a history professor. When I was about ten, I discovered some of the first commercial board games, Gettysburgor Diplomacy. Hooked, I delved into the history behind such games and discovered a passion for delving deeper. After I began teaching, I thought I could share that passion with my students through historical simulations. My “sim” courses became among the most popular in the university.
Surely the rise of Hitler and the impact of global depression gave an air of inevitability about the holocaust to follow? In this successor volume, Steiner makes clear many other factors were in play that might have altered Europe’s fate. She details the West’s overriding fear of Soviet communism, the crucial role Mussolini played as termite to the tentative international order built in the 1920s, and the deep internal divisions that French leaders ultimately were unable to overcome, divisions that played their own role in strengthening British Prime Minister Chamberlain’s decision to deal with Hitler at the Munich conference.
In this magisterial narrative, Zara Steiner traces the twisted road to war that began with Hitler's assumption of power in Germany. Covering a wide geographical canvas, from America to the Far East, Steiner provides an indispensable reassessment of the most disputed events of these tumultuous years.
Steiner underlines the far-reaching consequences of the Great Depression, which shifted the initiative in international affairs from those who upheld the status quo to those who were intent on destroying it. In Europe, the l930s were Hitler's years. He moved the major chess pieces on the board, forcing the others to respond. From the…
