A legendary painting by Rembrandt forms the centerpiece of this exploration of self-portraits by leading artists of the twentieth and twenty-first centuries. Published to commemorate an exhibition presented by Gagosian in partnership with English Heritage, this stunning volume centers on Rembrandt's masterpiece Self-Portrait with Two Circles (c. 1665), from the collection of Kenwood House in London. The painting is considered to be Rembrandt's greatest late self-portrait and is accompanied here by examples of the genre from leading artists of the past one hundred years. These include works by Francis Bacon, Jean-Michel Basquiat, Lucian Freud, and Pablo Picasso, as well as contemporary artists such as Georg Baselitz, Glenn Brown, Urs Fischer, Damien Hirst, Howard Hodgkin, Giuseppe Penone, Richard Prince, Cindy Sherman, and Rudolf Stingel, among others. Also featured is a new work by Jenny Saville, created in response to Rembrandt's masterpiece. Full-color plates of the works, generous details, and installation views of the exhibition accompany an expansive essay by art historian David Freedberg that provides a close look at the self-portraits created by Rembrandt throughout his life and considers the role of the Dutch master as the precursor of all modern painting.

Using the artist's self-portraits as a starting point, the author explains how Rembrandt exemplifies the ability to confront life with passion, honesty, and an uncompromising acceptance of who we are.

John Berger, one of the world's most celebrated storytellers and writers on art, tells a personal history of art from the prehistoric paintings of the Chauvet caves to 21st century conceptual artists. Berger presents entirely new ways of thinking about artists both canonized and obscure, from Rembrandt to Henry Moore, Jackson Pollock to Picasso. Throughout, Berger maintains the essential connection between politics, art and the wider study of culture. The result is an illuminating walk through many centuries of visual culture, from one of the contemporary world's most incisive critical voices.

Rembrandts paintings have been admired throughout centuries because of their artistic freedom. But Rembrandt was also a craftsman whose painting technique was rooted the tradition. Rembrandt—The Painter at Work is the result of a lifelong search for Rembrandt's working methods, his intellectual approach to the art of painting and the way in which his studio functioned. Ernst van de Wetering demonstrates how this knowledge can be used to tackle questions about authenticity and other art-historical issues. Approximately 350 illustrations, half of which are reproduced in colour, make this book into a monumental tribute to one of the worlds most important painters. "The book is—if one may be allowed to say such a thing about a serious scholarly work—a gripping good-read.' Christopher White, The Burlington Magazine "This is a very rich book, a deeply felt analysis of an artist whom the author knows better than almost any other living scholar." Christopher Brown, Times Literary Supplement

"Love took the words right out of my mouth." So begins the first line of Christopher Jane Corkery's poignant and unforgettable new collection of poems. Throughout the work these two themes--the power and mystery of language, especially the crafted one of poetry, and what Keats called "the holiness of the heart's affections"--intertwine, accumulating a rich panoply of associations and meanings. The occasions for Corkery's poems are often domestic: the thrill of youthful romance, of marriage and family, of children inventing new worlds. Yet here also are a poet's acts, psychological and spiritual, in a life which, like every reader's life, contains plenty and its absence all at once. Objects matter here--a bread board, a swing, a still life--but so do places (from New England to Paris and Seville). The poet is also joined by the ghostly presences of poets and mystics, from Teresa of Avila, John Keats, and George Herbert to Emily Dickinson and William Butler Yeats. Again and again Corkery is drawn to the essential way in which poetry enacts love. In fullness or in scarcity, in loving or in grief, both writer and reader are engaged, fulfilling the contract of poetry.

On a visit to his rich eccentric uncle, who owns many wonderful paintings, Tom is amazed when Rembrandt leaves his self-portrait and takes a walk with Tom.