In Art and the Committed Eye Richard Leppert examines Western European and American art from the fifteenth to the twentieth century. He studies the complex relation between the “look” of images and the variety of social and cultural uses to which they are put and demonstrates that the meaning of any image is significantly determined by its function, which changes over time. In particular, he emphasizes the ways in which visual culture is called on to mediate social differences defined by gender, class, and race.In Part 1, Leppert addresses the nature and task of representation, discussing how meaning accrues to images and what role vision and visuality play in the history of modernity. Here he explains imagery’s power to attract our gaze by triggering desire and focuses on the long history of the use of representation to enact a deception, whether in painting or advertising.Part 2 explores art’s relation to the material world, to the ways in which images mark our various physical and psychic ties to objects. The author analyzes still life paintings whose subject matter is both extraordinarily diverse and deeply paradoxical—from flower bouquets to grotesque formal arrangements of human body parts. Leppert demonstrates that even in “innocent” still lifes, formal design and technical execution are imbued with cultural conflict and social power.Part 3 is devoted to the representation of the human body—as subject to obsessive gazing and as an object of display, spectacle, and transgression. The variety of body representation is enormous: pleased or tortured, gorgeous or monstrous, modest or lascivious, powerful or weak, in the bloom of life or under the anatomist’s knife, clothed or naked. But it is the sexual body, Leppert shows, that has provided the West with its richest, most complex, contradictory, conflicted, and paradoxical accounts of human identity in relation to social ideals.

"Who are the mutants? We are all mutants. But some of us are more mutant than others."

Variety, even deformity, may seem like an unlikely route by which to approach normality, even perfection. Yet much of what we know about the mechanisms of human development, growth, and aging comes from the study of people who are afflicted with congenital diseases, most of which have genetic causes. Congenital abnormalities reveal not only errors within the womb, but also our evolutionary history.

In Mutants, Armand Marie Leroi gives a brilliant narrative account of our genetic grammar and the people whose bodies have revealed it, balancing both the science and the stories behind some of history's most captivating figures-including a French convent girl who found herself changing sex upon puberty; children who, echoing Homer's Cyclops, are born with a single eye in the middle of their foreheads; a village of long-lived Croatian dwarves; a hairy family who was kept at the Burmese royal court for four generations (and from whom Darwin took one of his keenest insights into heredity); and the ostrich-footed Wadoma of the Zambezi River Valley.

Stepping effortlessly from myth to molecular biology, this elegant, humane, and illuminating book is about us all.

Visit Armand Marie Leroi on the web: http://armandleroi.com/index.html

Stepping effortlessly from myth to cutting-edge science, Mutants gives a brilliant narrative account of our genetic code and the captivating people whose bodies have revealed it—a French convent girl who found herself changing sex at puberty; children who, echoing Homer’s Cyclops, are born with a single eye in the middle of their foreheads; a village of long-lived Croatian dwarves; one family, whose bodies were entirely covered with hair, was kept at the Burmese royal court for four generations and gave Darwin one of his keenest insights into heredity. This elegant, humane, and engaging book “captures what we know of the development of what makes us human” (Nature).

This exclusive collection reproduces in full color the rare, original paintings that enhanced the pulp magazines popular during the 1930s, 1940s, and 1950s. Also included are artists' sketches, interior illustrations, and lively text that offers the first complete history of the artists and their unique accomplishments. Chock full of action-packed, gorgeous—even shocking—color paintings for such popular pulps as American Stories, Weird Tales, and The Shadow, this volume is likely to become the definitive reference on a rare and highly collectible art style.

First published in 1973, this remarkable book about life in a small turn-of-the-century Wisconsin town has become a cult classic. Lesy has collected and arranged photographs taken between 1890 and 1910 by a Black River Falls photographer, Charles Van Schaik.

When Matthew Lewis’s The Monk was published in 1796, readers were shocked by this gripping and horrific novel. Lewis’s story, which drove the House of Commons—of which he was a member—to deem him licentious and perverse, follows the abbot Ambrosio as he is tempted into a world of incest, murder, and torture by a young girl who has concealed herself in his monastery disguised as a boy. As Ambrosio spirals into hell, the reader encounters an array of haunting characters: the innocent virgin, the Bleeding Nun, the Wandering Jew, an evil prioress, and Lucifer himself.

This Modern Library Paperback Classic, set from the unexpurgated first edition of 1796, brings to a new generation of readers a timeless classic of gothic fiction that has influenced writers from Byron and Emily Brontë to Poe and Hawthorne.

The life-size, adolescent-girl dolls created by German artist Hans Bellmer in the 1930s are the subject of Therese Lichtenstein's highly original book. Disturbing and controversial, Bellmer's dolls—with their uncanny, fragmented bodies and eroticized poses—were just as shocking during Bellmer's time as they are today. Until now there has been little available in English about Bellmer's dolls, and Lichtenstein's book will be welcomed for its fresh interpretation of the artist's work and his place in European modernism. Eighty striking photographs accompany the text.

Working during a time when Nazism was on the rise, Bellmer created several dolls with fragmented bodies that could be dismantled and arranged in various configurations. Using a narrative format, he then photographed the dolls in a range of grotesque—often sexual—positions. The images he conveyed were of death and decay, abuse and longing, in stark contrast to Nazism's mythic utopian celebration of adolescence.

Lichtenstein interprets Bellmer's complex expressions of eroticism as a protest against the Nazis and also against his father, a cold and repressive Nazi sympathizer. At the same time, she says, by hyperbolically flaunting a passive femininity in a theatrical manner, Bellmer's images allow us to consider how cultural representations can affect the formation of identity and alternative possibilities.