Over the course of his distinguished career, Robert Hughes wrote with brutal honesty about art, architecture, culture, religion—and himself. The Spectacle of Skill brings together some of his most unforgettable pieces, culled from nine of his most widely read and important books, alongside never-before-published pages from his unfinished second volume of memoirs. Showcasing Hughes’s enormous range, this indispensable anthology offers a uniquely cohesive view of both the critic and the man.
A selection of the best writing by the most important-- and thunderously outspoken-- art and culture critic of our time, including approximately 125 never-before-seen pages from the unfinished second volume of his memoir, which he was working on at the time of his death in 2012. With an introduction by Adam Gopnik"--
Robert Hughes has trained his critical eye on many major subjects, from the city of Barcelona to the history of his native Australia. Now he turns that eye inward, onto himself and the world that formed him. Hughes analyzes his experiences the way he might examine a Van Gogh or a Picasso. From his relationship with his stern and distant father to his Catholic upbringing and school years; and from his development as an artist, writer, and critic to his growing appreciation of art and his exhilaration at leaving Australia to discover a new life, Hughes’ memoir is an extraordinary feat of exploration and celebration.
Robert Hughes, one of the most illuminating minds ever to have taken on the subjects of art and culture, uses his same critical abilities to give us a brutally intimate account of his early life, up until the time he quit Australia for the United States. Part memoir, part history lesson, part philosophical tract, Hughes uses his own experiences to examine the nature of art, war, sex, religion, writing and life itself. Piercing, razor-sharp, and above all, fearless, this is by far Hughes's most personal writing to date.
Robert Hughes, who has stunned us with comprehensive works on subjects as sweeping and complex as the history of Australia (The Fatal Shore), the modern art movement (The Shock of the New), the nature of American art (American Visions), and the nature of America itself as seen through its art (The Culture of Complaint), now turns his renowned critical eye to one of art history’s most compelling, enigmatic, and important figures, Francisco José de Goya y Lucientes. With characteristic critical fervor and sure-eyed insight, Hughes brings us the story of an artist whose life and work bridged the transition from the eighteenth-century reign of the old masters to the early days of the nineteenth-century moderns. With his salient passion for the artist and the art, Hughes brings Goya vividly to life through dazzling analysis of a vast breadth of his work. Building upon the historical evidence that exists, Hughes tracks Goya’s development, as man and artist, without missing a beat, from the early works commissioned by the Church, through his long, productive, and tempestuous career at court, to the darkly sinister and cryptic work he did at the end of his life. In a work that is at once interpretive biography and cultural epic, Hughes grounds Goya firmly in the context of his time, taking us on a wild romp through Spanish history; from the brutality and easy violence of street life to the fiery terrors of the Holy Inquisition to the grave realities of war, Hughes shows us in vibrant detail the cultural forces that shaped Goya’s work. Underlying the exhaustive, critical analysis and the rich historical background is Hughes’s own intimately personal relationship to his subject. This is a book informed not only by lifelong love and study, but by his own recent experiences of mortality and death. As such this is a uniquely moving and human book; with the same relentless and fearless intelligence he has brought to every subject he has ever tackled, Hughes here transcends biography to bring us a rich and fiercely brave book about art and life, love and rage, impotence and death. This is one genius writing at full capacity about another—and the result is truly spectacular.
Annotation A deeply personal account of raising a child with low functioning autismBeautifully written by a respected journalist and teacherOffers hands-on advice to parents in an entertaining and easy-to-read manner.
From Robert Hughes, one of the greatest art and cultural critics of our time, comes a sprawling, comprehensive, and deeply personal history of Rome—as city, as empire, and, crucially, as an origin of Western art and civilization, two subjects about which Hughes has spent his life writing and thinking. Starting on a personal note, Hughes takes us to the Rome he first encountered as a hungry twenty-one-year-old fresh from Australia in 1959. From that exhilarating portrait, he takes us back more than two thousand years to the city's foundation, one mired in mythologies and superstitions that would inform Rome's development for centuries. From the beginning, Rome was a hotbed of power, overweening ambition, desire, political genius, and corruption. Hughes details the turbulent years that saw the formation of empire and the establishment of the sociopolitical system, along the way providing colorful portraits of all the major figures, both political (Julius Caesar, Marcus Aurelius, Nero, Caligula) and cultural (Cicero, Martial, Virgil), to name just a few. For almost a thousand years, Rome would remain the most politically important, richest, and largest city in the Western world. From the formation of empire, Hughes moves on to the rise of early Christianity, his own antipathy toward religion providing rich and lively context for the brutality of the early Church, and eventually the Crusades. The brutality had the desired effect—the Church consolidated and outlasted the power of empire, and Rome would be the capital of the Papal States until its annexation into the newly united kingdom of Italy in 1870. As one would expect, Hughes lavishes plenty of critical attention on the Renaissance, providing a full survey of the architecture, painting, and sculpture that blossomed in Rome over the course of the fourteenth through the sixteenth centuries, and shedding new light on old masters in the process. Having established itself as the artistic and spiritual center of the world, Rome in the seventeenth, eighteenth, and nineteenth centuries saw artists (and, eventually, wealthy tourists) from all over Europe converging on the bustling city, even while it was caught up in the nationalistic turmoils of the Italian independence struggle and war against France. Hughes keeps the momentum going right into the twentieth century, when Rome witnessed the rise and fall of Italian Fascism and Mussolini, and took on yet another identity in the postwar years as the fashionable city of "La Dolce Vita." This is the Rome Hughes himself first encountered, and it's one he contends, perhaps controversially, has been lost in the half century since, as the cult of mass tourism has slowly ruined the dazzling city he loved so much. Equal parts idolizing, blasphemous, outraged, and awestruck, Rome is a portrait of the Eternal City as only Robert Hughes could paint it.
In Robert Hughes The Fatal Shore the reader is given the incredibly detailed history of a nation and people that was often not taught to its own schoolchildren as the past has long been considered a source of shame. This is the riveting story of the founding of Australia from its initial shiploads of criminal convicts landing on the continent in 1788 until independent nation status. It took only 80 years but Australia became a nation despite the inauspicious colonial beginning.
NATIONAL BESTSELLER • This incredible true history of the colonization of Australia explores how the convict transportation system created the country we know today. "One of the greatest non-fiction books I’ve ever read ... Hughes brings us an entire world." —Los Angeles Times Digging deep into the dark history of England's infamous efforts to move 160,000 men and women thousands of miles to the other side of the world in the eighteenth and nineteenth centuries, Hughes has crafted a groundbreaking, definitive account of the settling of Australia. Tracing the European presence in Australia from early explorations through the rise and fall of the penal colonies, and featuring 16 pages of illustrations and 3 maps, The Fatal Shore brings to life the history of the country we thought we knew.
From Holbein to Hockney, from Norman Rockwell to Pablo Picasso, from sixteenth-century Rome to 1980s SoHo, Robert Hughes looks with love, loathing, warmth, wit and authority at a wide range of art and artists, good, bad, past and present. As art critic for Time magazine, internationally acclaimed for his study of modern art, The Shock of the New, he is perhaps America’s most widely read and admired writer on art. In this book: nearly a hundred of his finest essays on the subject. For the realism of Thomas Eakins to the Soviet satirists Komar and Melamid, from Watteau to Willem de Kooning to Susan Rothenberg, here is Hughes—astute, vivid and uninhibited—on dozens of famous and not-so-famous artists. He observes that Caravaggio was “one of the hinges of art history; there was art before him and art after him, and they were not the same”; he remarks that Julian Schnabel’s “work is to painting what Stallone’s is to acting”; he calls John Constable’s Wivenhoe Park “almost the last word on Eden-as-Property”; he notes how “distorted traces of [Jackson] Pollock lie like genes in art-world careers that, one might have thought, had nothing to do with his.” He knows how Norman Rockwell made a chicken stand still long enough to be painted, and what Degas said about success (some kinds are indistinguishable from panic). Phrasemaker par excellence, Hughes is at the same time an incisive and profound critic, not only of particular artists, but also of the social context in which art exists and is traded. His fresh perceptions of such figures as Andy Warhol and the French writer Jean Baudrillard are matched in brilliance by his pungent discussions of the art market—its inflated prices and reputations, its damage to the public domain of culture. There is a superb essay on Bernard Berenson, and another on the strange, tangled case of the Mark Rothko estate. And as a finale, Hughes gives us “The SoHoiad,” the mock-epic satire that so amused and annoyed the art world in the mid-1980s. A meteor of a book that enlightens, startles, stimulates and entertains.
Beginning with a vivid description of his wedding in the splendid medieval ceremonial chamber in Barcelona's city hall, Hughes launches into a lively account of the history, art, and architecture of the storied city. He tells of architectural treasures abounding in 14th-century Barcelona, establishing it as one of Europe's great Gothic cities, while Madrid was hardly more than a cluster of huts. The city spawned such great artists as Antoni Gaudi, Pablo Picasso, Joan Miro, Salvador Dali, and Pablo Casals. Hughes's deep knowledge of the city is evident—but it's his personal reflections of what Barcelona, its people, and its storied history and culture have meant to him over the decades that sets Barcelona the Great Enchantress apart from all others' books.
Most people would describe Walker Hughes as warm, enthusiastic and charismatic - even if he doesn't say very much. But after several happy years living in a group home, Walker descended into a deep unhappiness, and his parents were told that their son with low-functioning autism was 'unmanageable' and a danger to others. Where did it all go wrong? From the author of Running with Walker, this witty and touching memoir tells a story of crisis and recovery of a young man with low-functioning autism. Battling miscommunication, misinterpreted behaviour and a lack of appropriate services, Walker and his parents' resilience shines through, providing a much-needed portrayal about what life is like for adults with low-functioning autism, and how we can understand the complex personalities of people with communication difficulties.
Louis Kahn was one of the most important architects of the twentieth century, hailed as a master of materials, but also of light. "The plan of a building," he once said, "should be read like a harmony of spaces created in light." Here, in this essay by the legendary art critic Robert Hughes, is Kahn's story.
During the 1930s, radical young writers, artists, and critics associated with the Communist Party animated a cultural dialogue that was one of the most stimulating in American history. With the dawning of the Cold War, however, much of their work fell out
Distinguished historian Robert Emmett Curran presents an informed and balanced study of the American Catholic Church's experience in its two most important regions in the nineteenth and twentieth centuries
Enlists the principles of post-humanist critique in order to investigate decades of intimate dialogues between African American and Spanish intellectuals In Archives of Flesh, Robert Reid-Pharr reveals the deep history of intellectual engagement between African America and Spain. Opening a fascinating window onto black and anti-Fascist intellectual life from 1898 through the mid-1950s, Reid-Pharr argues that key institutions of Western Humanism, including American colleges and universities, developed in intimate relation to slavery, colonization, and white supremacy. This retreat to rigidly established philosophical and critical traditions can never fully address—or even fully recognize—the deep-seated hostility to black subjectivity underlying the humanist ideal of a transcendent Manhood. Calling for a specifically anti-white supremacist reexamination of the archives of black subjectivity and resistance, Reid-Pharr enlists the principles of post-humanist critique in order to investigate decades of intimate dialogues between African American and Spanish intellectuals, including Salaria Kea, Federico Garcia Lorca, Nella Larsen, Langston Hughes, Richard Wright, Chester Himes, Lynn Nottage, and Pablo Picasso. In the process Reid-Pharr takes up the “African American Spanish Archive” in order to resist the anti-corporeal, anti-black, anti-human biases that stand at the heart of Western Humanism.
Artist Robert Amos gives readers a fascinating insider’s tour of studios on Vancouver Island and the Gulf Islands where some of Canada’s best-known artists create works. Spanning more than 15 years of interviews and photographs, Amos has created panoramic collages of these artists' creative spaces, and even more revealing images with his words. Not merely biography, Amos includes examples of completed works, and the insight that only another artist, and talented arts writer, can. Artists in Their Studios is both a stunning compilation of our Canadian artistic heritage, and proof that art work in progress is art in itself. Enter the studios of: Robert Amos, Colin Graham, Ron Parker, Sarah Amos, Ted Harrison, Myfanwy Pavelic, Nixie Barton, Harry Heine, Jerry Pethick, Robert Bateman, Martin Honisch, Geoffrey Rock, Pat Martin Bates, E.J. Hughes, Carole Sabiston, Maxwell Bates, Fenwick Lansdowne, Duncan Regehr, Maarten Schaddelee, Zhang Bu, Grant Leier, Phyllis Serota, Emily Carr, Miles Lowry, Godfrey Stephens, Pat Cook, Judy McLaren, Norman Yates, Len Gibbs, Wayne Ngan, Jimmy Wright, Jim Gordaneer, Peggy Walton Packard.
This book challenges the long-held assumption that African American literature aptly reflects black American social consciousness. Offering a novel sociological approach, Washington delineates the social and political forces that shaped the leading black literary works. Washington shows that deep divisions between political thinkers and writers prevailed throughout the 20th century. Visit our website for sample chapters!
First published in 1988, The Last Day, the Last Hour reconstructs the events - military and legal - that led to the trial and the trial itself, one of the most sensational courtroom battles in Canadian history, involving many prominent legal, military and political figures of the 1920s.
From Nobel Prize-winning work in atomic physics to community concerns over radiation leaks, Brookhaven National Laboratory's ups and downs track the changing fortunes of "big science" in the United States since World War II. But Brookhaven is also unique; it was the first major national laboratory built specifically for basic civilian research. In Making Physics, Robert P. Crease brings to life the people, the instruments, the science, and the politics of Brookhaven's first quarter-century.
From historian Wohl comes an extraordinary account of the development of aviation and the heroism, romance, adventure, and shattered dreams that followed. Archival photos.
Hilarious. Incredible. Bizarre. Witty. Deliciously malicious! Where There's a Will is an absorbing collection of odd and curious wills from many countries and many times. The vindictive wills, revealing wills, wills written on nurses petticoats, eggshells, tractor fenders and wills found in a bottle at sea included in the book reflect the full range of man's virtues and vices. The colorful individuals whose Last Will and Testament grace the pages of this book give more than their money away - they give themselves away. They use their wills to get back at obnoxious relatives, to maintain control beyond the grave, to reward, to punish, to defy those who say you can't take it with you. And to have the last word. Among the famous and the infamous whose wills are featured are: George Bernard Shaw, W.C. Fields, Patrick Henry, Janis Joplin, Napoleon, Jack Kelly, Howard Hughes, William Shakespeare, Ian Fleming, Billy Rose, Picasso, Marilyn Monroe, Aristotle Onassis. . . and many more.
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