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Giovanni Battista Franco (before 1510 - 1561) was an Italian mannerist painter, draughtsman and engraver. Native of Venice, he spent the first part of his career in Rome, but by 1536 had settled in Florence. Back in Rome by 1542, he painted a fresco of the Capture of Saint John the Baptist for the Oratorio di San Giovanni Decollato. In 1545 he was summoned by Duke Guidobaldo II to Urbino, where he painted frescoes in the Duomo (destroyed). The last ten years of his career were spent in Venice, where among his significant works are a Baptism of Christ for San Francesco della Vigna and the ceiling decoration of the Fondaco dei Tedeschi and the Biblioteca Marciana.

Franco is better known as a draughtsman and recent scholars such as A. E. Popham found much to praise in 'Franco's extraordinary skill, with his rather scratchy but effective line, and his combination of Michelangelesque and Raphaelesque forms.' Among his drawings there are numerous studies of antique subjects taken from Roman sarcophagi.

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Baccio Bandinelli (Florence, 1493-1560) was one of the sculptors that worked for the house of Medici during the first half of the XVI century. A pupil of Giovan Francesco Rustici, he was strongly influenced by Michelangelo. One of his main works, Hercules and Cacus, is visible in the Piazza della Signoria and seen by millions of tourists each year. He also worked in Rome where he had been called by pope Clement VII. But, while his talent for sculpture was put in doubt by critics and rivals (Benvenuto Cellini, for instance), Bandinelli's extraordinary drawing skills were universally appreciated - Vasari declared him "unrivalled" in this domain.

Over two hundred drawings held in the Louvre are analysed in this scholarly publication: they include autograph drawings, those by his workshop and those rejected.

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Thomas Bush Hardy was one of the most successful and prolific artists in an era when English marine painting in watercolour reached its zenith. He was one of the few artists who took the trouble to study, understand and then reproduce all the elements of a successful marine watercolour.

As the many illustrations in this books show, Hardy had an enviable ability to capture the atmosphere, be it peaceful or dramatic, of each occasion. Most of the pictures used here are held in private collections and include many of his finest works. Although Hardy is mentioned in many books covering the Victorian era, this is the first detailed and fully illustrated study of his comparatively short but fascinating career.

Throughout the nineteenth century, artists painted the Seine, its light, its banks, its bridges and its ports. Above all, however, it was the impression¬ists and their emulators, careful observers of modern life, who made it their favorite subject. From dawn to dusk, Claude Monet, Alfred Sisley, Gustave Caillebotte and Armand Guillaumin never grew weary of observing the play of reflections on the surface of the water. Often the Seine also enchanted Auguste Renoir, Camille Pissarro and Berthe Morisot. Many artists lived or stayed regularly along the banks of the river, finding in it their main source of inspiration. For the landscape of the Seine was evolving under the com¬bined effect of industrialization and the advent of leisure. With its iron bridges, its great ports, its industrial dynamism, and also its boats, its yachts and its strolling visitors in their white dresses, the Seine was the heart of modernity.
A selection of around fifty paintings traces the evolution of Impressionism and takes us on a journey along the river, from Paris to Le Havre, passing through Argenteuil, Vétheuil and Giverny.
 

Abstraction has long been acknowledged to be one of the key concepts in 20th century art. The artists of the Russian avant-garde, above all Wassily Kandinsky and Kazimir Malevich, made a leading contribution to the birth and establishment of this exciting movement.
This publication is the first attempt to bring together the wide range of materials reflecting the various paths trodden by artists working in non-objective forms in the 20th century. The album is based largely on the classical avant-garde paintings now in the State Russian Museum in St. Petersburg, home to the world's most representative collection of the art of this period. Works created in the second half of the 20th century have also been contributed by the Tretyakov Gallery, many of the artists themselves and several private collectors.
Artists of various generations are represented by some 1,200 works in two beautifully designed volumes."