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	<title>Sanguin Fine Art GIFTSHOP</title>
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		<title>Edward Hopper</title>
		<link>http://sanguinfineart.com/giftshop/books/edward-hopper/</link>
		<comments>http://sanguinfineart.com/giftshop/books/edward-hopper/#comments</comments>
		<pubDate>Wed, 10 Nov 2010 06:19:48 +0000</pubDate>
		<dc:creator>giftshop_admin</dc:creator>
				<category><![CDATA[books]]></category>
		<category><![CDATA[American]]></category>
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		<category><![CDATA[painting]]></category>

		<guid isPermaLink="false">http://sanguinfineart.com/giftshop/?p=630</guid>
		<description><![CDATA[<h2>Edward Hopper</h2>
<h3>Text by Carol Troyen, Judith Barter, Elliot Davis.
Published by MFA Publications</h3>

One of the most enduringly popular painters of the twentieth century, Edward Hopper produced many works now considered icons of Modern art. Canvases such as Drugstore, New York Movie, and the universally recognized (and often parodied) Nighthawks not only reshaped what painting looked like in America, but created a visual language for middle-class life and its discontents. This extensive new assessment of Hopper, which accompanies a major traveling exhibition, examines the dynamics of the artist's creative process and discusses his work within the cultural currents of his day--examining the influence not only of other painters, but also of such media as literature and film. And while most studies have tended to see Hopper as the great painter of alienation, this one takes a much broader, more nuanced, and ultimately more representative view. Spanning the entirety of Hopper's career, but with particular emphasis on his heyday in the 30s and 40s, Edward Hopper highlights the artist's greatest achievements while discussing such topics as his absorption of European influences, critical reactions to his work, the relation of Realism to Modernism, the artist's fascination with architecture, his depiction of women, and the struggle in his last years to produce original works. Illustrated with over 150 oils, watercolors and prints, and including essays by several noted scholars in the field and an extensive chronology and bibliography, this is the most comprehensive volume on Hopper produced in the last decade.]]></description>
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		<title>Painting People</title>
		<link>http://sanguinfineart.com/giftshop/books/painting-people/</link>
		<comments>http://sanguinfineart.com/giftshop/books/painting-people/#comments</comments>
		<pubDate>Wed, 10 Nov 2010 05:41:09 +0000</pubDate>
		<dc:creator>giftshop_admin</dc:creator>
				<category><![CDATA[books]]></category>
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		<guid isPermaLink="false">http://sanguinfineart.com/giftshop/?p=624</guid>
		<description><![CDATA[<h2>Painting People - Figure Painting Today</h2>
<h3>Edited by Charlotte Mullins.
Published by D.A.P./Distributed Art Publishers</h3>

Now available in paperback! After a century in which the lexicon of artists' materials expanded from the classic oil, canvas, stone and plaster to include photography, film, performance, found objects and concepts, the spotlight has finally swung back. A new generation of artists--as well as some who never abandoned figurative painting in the first place--is relishing the solitary, slow, subtle set of processes involved in not just painting, but painting people. They are choosing paint's unique ability to distill a lifetime of events rather than photography's glimpse of a frozen moment. Painting People, edited by the prominent London art historian and critic Charlotte Mullins, unites and contrasts the work of a key group of artists from around the world and investigates their richly varied accomplishments in lucid text with detailed commentaries accompanied by more than 150 reproductions. The list of contributing artists is stellar, ranging from photo-based painters like Luc Tuymans, Peter Doig and Marlene Dumas to Pop artists like Sigmar Polke and Alex Katz, photorealists like Chuck Close and Gerhard Richter, Neoexpressionists like Cecily Brown and comics-inspired painters like Yoshitomo Nara, Inka Essenhigh and Takashi Murakami. There are erotic grotesques from John Currin and Lisa Yuskavage, meditations on the muse by Elizabeth Peyton and Lucian Freud, "Repro-realistic" work from Neo Rauch and of course self-portraits by Philip Akkerman and Marcel Dzama, among others.]]></description>
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		<title>Renoir in the 20th Century</title>
		<link>http://sanguinfineart.com/giftshop/books/renoir-in-the-20th-century/</link>
		<comments>http://sanguinfineart.com/giftshop/books/renoir-in-the-20th-century/#comments</comments>
		<pubDate>Wed, 10 Nov 2010 01:08:47 +0000</pubDate>
		<dc:creator>giftshop_admin</dc:creator>
				<category><![CDATA[books]]></category>
		<category><![CDATA[French]]></category>
		<category><![CDATA[Impressionism]]></category>
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		<guid isPermaLink="false">http://sanguinfineart.com/giftshop/?p=620</guid>
		<description><![CDATA[<h2>Renoir in the 20th Century</h2>
<h3>Text by Roger Benjamin, Claudia Einecke.
Published by Hatje Cantz</h3>


Here at last is a publication devoted to the glorious final three decades of Pierre-Auguste Renoir—the decades in which the painter turned away from Impressionism and toward a more decorative approach informed by his own idiosyncratic interpretation of art history. During this period, Renoir was initially looking at painters such as Rubens, Titian and Raphael, and dedicating himself to cheery subjects such as bathers, domestic idylls and landscapes that were influenced by both classical mythology and by his relocation to the South of France. The thinly brushed color and blurry outlines in later works such as the “Odalisques” and the “Bathers” of 1918–1919 (a picture that Renoir described as “a springboard for future research”), were much admired by an up-and-coming generation of avant-garde artists, who gravitated to their sensuality and to the fleshy richness of his nudes—qualities which have made his art so hugely popular and so widely reproduced. In the wealth of color illustrations in this book—which accompanies a major touring exhibition organized by the Réunion des Musées Nationaux, the Musée d'Orsay and the Los Angeles County Museum of Art in collaboration with the Philadelphia Museum of Art—it is possible to see clearly the influence that Renoir had on younger artists such as Bonnard, Matisse and Picasso, as well as how they received and studied his work.Along with Monet and Sisley, Pierre-Auguste Renoir (1841–1919) was a founder of the style that became known as Impressionism, and one of its most prolific members. Surviving most of his contemporaries, he lived to see his paintings hung at the Louvre alongside the old masters he so revered.]]></description>
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		<item>
		<title>Mark Ryden: The Tree Show</title>
		<link>http://sanguinfineart.com/giftshop/books/mark-ryden-the-tree-show/</link>
		<comments>http://sanguinfineart.com/giftshop/books/mark-ryden-the-tree-show/#comments</comments>
		<pubDate>Tue, 09 Nov 2010 09:36:25 +0000</pubDate>
		<dc:creator>giftshop_admin</dc:creator>
				<category><![CDATA[books]]></category>
		<category><![CDATA[Pop Culture]]></category>

		<guid isPermaLink="false">http://sanguinfineart.com/giftshop/?p=615</guid>
		<description><![CDATA[<h2>Mark Ryden: The Tree Show</h2>
<h3>Text by Holly Meyers.
Published by Porterhouse Fine Art Editions</h3>

Absorbing Roman poet Ovid's tales of transformation in Metamorphoses and adding his own dash of art-historical figuration and contemporary pop culture, Mark Ryden broaches new terrain with The Tree Show. "Arcadian Gothic" might hint at the nature of this new work, and fans of Ryden will find familiar preoccupations in these new paintings, drawings and sculptures--made since his first solo show in 1998--transposed to new pastures. Never reluctant to freight his work with layers of reference that range from Renaissance landscape and Neoclassical portrait painting to occultism and literature, in his latest works Ryden combines the arcane with pop-cultural images as ground from which to make his carefully executed leaps into fantasy. Ryden's series includes depictions of oak trees consuming children, floating tree stumps with "seeing" eyes, imaginary wood nymphs and mythological characters who personify Nature herself. Ryden paints his characters with a masterful, porcelain glow reminiscent of Ingres and renders his trees with a care that evokes Audubon's botanical illustration. Several of his paintings are presented in elaborately carved frames that project their narratives beyond the canvas. The Tree Show offers reproductions of these paintings and sculptures alongside the fruits of Ryden's research on the tree as myth--drawing from the Buddha's Bodhi Tree to Adam and Eve, the Sephiroth of the Kabbalah and matters of ecological science. As such, this volume constitutes an enticing dossier on Ryden's encyclopedic exploration of the subject and reproduces in its entirety this series centered around the arboreal world.
Mark Ryden was born in Medford, Oregon, and received a BFA in 1987 from Art Center College of Design in Pasadena. He currently lives and works in Los Angeles.]]></description>
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		<item>
		<title>Van Gogh and the Colors of the Night</title>
		<link>http://sanguinfineart.com/giftshop/books/van-gogh-and-the-colors-of-the-night/</link>
		<comments>http://sanguinfineart.com/giftshop/books/van-gogh-and-the-colors-of-the-night/#comments</comments>
		<pubDate>Tue, 09 Nov 2010 09:28:00 +0000</pubDate>
		<dc:creator>giftshop_admin</dc:creator>
				<category><![CDATA[books]]></category>
		<category><![CDATA[Impressionism]]></category>
		<category><![CDATA[museum]]></category>
		<category><![CDATA[painting]]></category>

		<guid isPermaLink="false">http://sanguinfineart.com/giftshop/?p=611</guid>
		<description><![CDATA[<h2>Van Gogh and the Colors of the Night</h2>
<h3>Text by Sjraar van Heugten, Joachim Pissarro, Chris Stolwijk.
Published by The Museum of Modern Art, New York</h3>

Throughout his career, Vincent van Gogh attempted the paradoxical task of representing night through color and tonality. His procedure followed the trend set by the Impressionists of "translating" visual light effects with various color combinations, yet this goal was grafted onto his desire to interweave the visual and the metaphorical in order to produce fresh and original works of art. These different artistic concerns found themselves powerfully bound together in Van Gogh's nocturnal and twilight paintings and drawings. This illuminating volume, published to accompany the first exhibition to focus on this aspect of Van Gogh's career, presents new insight on Van Gogh's depictions of night landscapes, interior scenes and the effects of both artificial and natural light on their surroundings. Representing all periods of the artist's career, this volume features more than 100 images of superlative quality, including large reproductions of works by Van Gogh, details of iconic paintings and images of works by other artists that were important to the development of Van Gogh's oeuvre. Essays by the exhibition organizers provide historical and personal contexts for better understanding the artist's motives and offer in-depth studies of the technical and stylistic aspects of Van Gogh's work.
Vincent van Gogh was born in 1853 in The Netherlands. His career as an artist lasted only 10 years, but he produced almost 2,000 paintings and works on paper during this brief period, many of them described or sketched in his extensive correspondence with his brother Theo. Van Gogh is most celebrated for his bold use of color and expressive painting technique. He spent his last years in the south of France, where he painted many of his most famous works. He died in Auvers-sur-Oise, just north of Paris, on July 29, 1890.]]></description>
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		<item>
		<title>Lucian Freud: The Studio</title>
		<link>http://sanguinfineart.com/giftshop/books/lucian-freud-the-studio/</link>
		<comments>http://sanguinfineart.com/giftshop/books/lucian-freud-the-studio/#comments</comments>
		<pubDate>Tue, 09 Nov 2010 09:04:20 +0000</pubDate>
		<dc:creator>giftshop_admin</dc:creator>
				<category><![CDATA[books]]></category>
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		<guid isPermaLink="false">http://sanguinfineart.com/giftshop/?p=607</guid>
		<description><![CDATA[<h2>Lucian Freud: The Studio</h2>
<h3>Foreword by Alain Seban. Preface by Alfred Pacquement. Introduction by Cécile Debray. Text by Éric Darragon, Jean Clair, Laurence des Cars, Philippe Comar, Richard Shiff, Cécile Debray, Elsa Urtizverea.
Published by Hirmer Verlag</h3>

One of the greatest living painters and portraitists, Lucian Freud (born 1922) brings a powerfully obsessive scrutiny to bear upon his subjects. "I want the painting to be flesh," Freud has avowed, and through this aspiration he achieves almost devastatingly unsentimental and revelatory portraits of his sitters, as he translates the act of scrutiny into strokes of paint. Like the studio of his friend Francis Bacon, Freud's own studio has attained its own intensity as the site of his one-on-one encounters, and as a backdrop or stage in his paintings, and the atmosphere of his interiors, and in the light in them, are among his paintings' most pungent qualities. (One of his earliest canvases, from 1944, is titled "The Painter's Room.") Accompanying the critically acclaimed spring 2010 Pompidou retrospective, this mammoth survey posits Freud's studio as the decisive stage for his art, and tracks his career in over 200 color illustrations of paintings, graphic works and photographs. Included here are his large interiors, his nudes and variations on portraits by earlier masters, his famous series of self-portraits and imposing portraits of sitters such as Leigh Bowery and substantial photographic documentation of the studio. Lucian Freud: The Studio is the essential book on the artist.
Grandson of Sigmund Freud, Lucian Freud was born in Germany in 1922, and permanently relocated to London in 1933 during the ascent of the Nazi regime. After seeing brief service during the Second World War, Freud had his first solo exhibition in 1944 at the Alex Reid &#038; Lefevre Gallery in London. Despite exhibiting only occasionally over the course of his career, Freud's 1995 portrait "Benefits Supervisor Sleeping" was sold at auction, at Christie's New York in May 2008, for $33.6 million--setting a world record for sale value of a painting by a living artist.]]></description>
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		<item>
		<title>Caravaggio: The Complete Works</title>
		<link>http://sanguinfineart.com/giftshop/books/caravaggio-the-complete-works/</link>
		<comments>http://sanguinfineart.com/giftshop/books/caravaggio-the-complete-works/#comments</comments>
		<pubDate>Tue, 09 Nov 2010 08:48:01 +0000</pubDate>
		<dc:creator>giftshop_admin</dc:creator>
				<category><![CDATA[books]]></category>
		<category><![CDATA[Italian]]></category>
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		<guid isPermaLink="false">http://sanguinfineart.com/giftshop/?p=602</guid>
		<description><![CDATA[<h2>Caravaggio: The Complete Works</h2>
<h3>Edited and text by Rossella Vodret.
Published by Silvana Editoriale</h3>


Dramatic shifts from foreboding dark to probing light, with minimal gradation in between; a realism that exposes all the flaws and folds of human flesh, eschewing Michelangelo's idealized bodies; a surgical explication of almost unbearably tense emotion; and the poised depiction of crucial moments at the very lip of their unfolding: these were among the innovations of Michelangelo Merisi, known as Caravaggio. Without them, as the great Italian art writer Roberto Longhi once noted, "Ribera, Vermeer, La Tour and Rembrandt could never have existed... and the art of Delacroix, Courbet and Manet would have been utterly different." It was Longhi who rescued Caravaggio's painting for the twentieth century, prior to which it had lain dormant since the painter's mysterious death in 1610. During Caravaggio's lifetime, however, his work was enormously influential and controversial. Each of his innovations in some way upset the prevailing tendencies of the day--not least when his insistence on physical realism led him to paint Saint Matthew as a bald peasant with dirty legs (attended upon by an irreverently intimate boy angel). Nonetheless, Caravaggio was never short of commissions or patrons, and left to posterity around 80 masterpieces. This monograph is published on the fourth centenary of Caravaggio's death, and documents his complete paintings in high-quality reproductions. Authored by renowned scholar Rossella Vodret, it is the must-have monograph on the artist.
Michelangelo Merisi, known as Caravaggio, was born in 1571 and made his debut in 1600 with two public commissions on the theme of Saint Matthew. He soon became notorious for his temper, and killed a young man in 1606; two further contretemps in Malta and Naples are recorded--the latter, in 1609, involving an attempt on his life--and by 1610 he was dead, after a brief but extraordinary career.]]></description>
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		<item>
		<title>Gustave Courbet</title>
		<link>http://sanguinfineart.com/giftshop/books/gustave-courbet/</link>
		<comments>http://sanguinfineart.com/giftshop/books/gustave-courbet/#comments</comments>
		<pubDate>Tue, 09 Nov 2010 08:34:26 +0000</pubDate>
		<dc:creator>giftshop_admin</dc:creator>
				<category><![CDATA[books]]></category>
		<category><![CDATA[painting]]></category>

		<guid isPermaLink="false">http://sanguinfineart.com/giftshop/?p=597</guid>
		<description><![CDATA[<h2>Gustave Courbet</h2>
<h3>Text by Sylvain Amic, Kathryn Calley Galitz, Laurence des Cars, Dominique Lobstein, Bruno Mottin, Thomas Galifot, Bertrand Tillier.
Published by Hatje Cantz</h3>

Nowadays it is difficult to conceive of the impact that Gustave Courbet’s paintings made on French art of the mid-nineteenth century. At once casting himself as revolutionary, bohemian and peasant, Courbet (1819-1877) overturned a deeply-entrenched tradition of academic painting in France, and, eschewing the Romanticism of Delacroix and the NeoClassicism of Ingres, coined instead an idiom he named “Realism.” Realism was not pretty, classically proportioned or literary; rather, it confronted the conditions of rural working life, then an unimaginable subject for art. The first masterpiece of this new style was “Burial at Ornans” (1849-1850), a colossal anti-epic that depicted an ordinary funeral in Courbet’s home town. The contrast between the work’s scale and its subject matter was pronounced, and its murky earth tones struck critics as willfully ugly--a defining reaction that would recur throughout the Modern period, particularly in the reception of early works by Manet and Picasso. Courbet’s palette emphasized mass and body politically--that is, in a manner that affirmed the world itself rather than the transcendence of it. His equally famous “The Origin of the World” of 1866, which presented the female genitalia close-up, made this stance explicit. The conceptual beginnings of the “painting of Modern life” are as much in Courbet’s Realism as in Charles Baudelaire’s famous essay of the same name.
In this new assessment, published on the occasion of a major 2008 traveling exhibition, renowned experts shed light on the development of Courbet’s realistic, critical style and trace his influence on his contemporaries and subsequent generations, as well as his relationship to early photography. At 480 pages, this monumental volume provides a long-overdue reckoning of this great artist’s work.]]></description>
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		<item>
		<title>Titian, Tintoretto, Veronese &#8211; Rivals in Renaissance Venice</title>
		<link>http://sanguinfineart.com/giftshop/books/titian-tintoretto-veronese-rivals-in-renaissance-venice/</link>
		<comments>http://sanguinfineart.com/giftshop/books/titian-tintoretto-veronese-rivals-in-renaissance-venice/#comments</comments>
		<pubDate>Tue, 09 Nov 2010 07:49:17 +0000</pubDate>
		<dc:creator>giftshop_admin</dc:creator>
				<category><![CDATA[books]]></category>
		<category><![CDATA[Italian]]></category>
		<category><![CDATA[Renaissance]]></category>

		<guid isPermaLink="false">http://sanguinfineart.com/giftshop/?p=592</guid>
		<description><![CDATA[<h2>Titian, Tintoretto, Veronese</h2>
<h3>Rivals in Renaissance Venice</h3>
Edited by Frederick Ilchman. Text by David Rosand, Frederick Ilchman, Linda Borean, Patricia F. Brown, John Garton, et al.
Published by MFA Publications
For nearly four decades in the sixteenth century, the careers of Venice's three greatest painters--Titan, Tintoretto and Veronese--overlapped, producing mutual influences and bitter rivalries that changed art history. Venice was then among Europe's richest cities, and its plentiful commissions fostered an exceptionally fertile and innovative climate. In it, the three artists--brilliant, ambitious and fiercely competitive--vied with one another for primacy, employing such new media as oil on canvas, with its unique expressive possibilities, and such new approaches as a personal and identifiable signature style. They also pioneered the use of easel painting, a newly portable format that led to unprecedented fame in their lifetimes. With more than 150 stunning examples by the three masters and their contemporaries, this volume elucidates the technical and aesthetic innovations that helped define the uniquely rich "Venetian style," as well as the social, political and economic context in which it flourished. Essays range from examinations of seminal new techniques to such crucial institutions as state commissions and the patronage system. Most of all, by concentrating on the lives and careers of Venice's three greatest painters, Titian, Tintoretto, Veronese paints a vibrant human portrait--one brimming with savage rivalry, one-upsmanship, humor and passion.]]></description>
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		<item>
		<title>Women Impressionists</title>
		<link>http://sanguinfineart.com/giftshop/books/women-impressionists/</link>
		<comments>http://sanguinfineart.com/giftshop/books/women-impressionists/#comments</comments>
		<pubDate>Tue, 09 Nov 2010 07:21:03 +0000</pubDate>
		<dc:creator>giftshop_admin</dc:creator>
				<category><![CDATA[books]]></category>
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		<category><![CDATA[French]]></category>
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		<category><![CDATA[San Francisco]]></category>
		<category><![CDATA[women]]></category>

		<guid isPermaLink="false">http://sanguinfineart.com/giftshop/?p=584</guid>
		<description><![CDATA[<h2>Women Impressionists</h2>

<h3>Berthe Morisot, Mary Cassatt, Eva Gonzalès, Marie Bracquemond</h3>

Edited by Ingrid Pfeiffer, Max Hollein. Text by Jean-Paul Bouillon, Pamela Ivinski, Sylvie Patry, Ingrid Pfeiffer, Griselda Pollock.

The female members of the nineteenth-century Impressionist movement are usually painted out of official art history, although Edouard Manet, for one, testified to the talents of his friends Berthe Morisot (whose “Harbor at Lorient” of 1869 he so admired that she gave it to him) and Eva Gonzalès (the only pupil Manet ever took), and discussed matters of painting with them as readily as with male peers like Edgar Degas. Even Degas himself, notoriously misogynistic, invited Mary Cassatt to exhibit with him (she was the only American to do so); and Marie Bracquemond also exhibited at the Impressionist exhibitions of 1879, 1880 and 1886, despite the discouragement of her husband. All of these women practiced and supported Impressionism from its earliest days, when it was still a popular sport to deride it. Nonetheless, for Morisot, Gonzalès, Bracquemond and Cassatt, the chances of equivalent long-term recognition were predictably slim, and while their own individual oeuvres were too strong and too omnipresent in their own time to be entirely eradicated from the annals of art, they have rarely received due attention in the hands of subsequent commentators. This stunning 320-page compendium, published to accompany the important traveling exhibition which goes to San Francisco in the summer of 2008, corrects this longstanding oversight, presenting these pioneering painters alongside each other for the first time, reproducing their oil paintings, pastels, watercolors, drawings and etchings and offering a cogent rebuttal of familiar Impressionist narratives.]]></description>
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		<item>
		<title>Archangel Gabriel &#8211; magnet</title>
		<link>http://sanguinfineart.com/giftshop/magnets/archangel-gabriel-magnet/</link>
		<comments>http://sanguinfineart.com/giftshop/magnets/archangel-gabriel-magnet/#comments</comments>
		<pubDate>Sun, 07 Nov 2010 23:02:16 +0000</pubDate>
		<dc:creator>giftshop_admin</dc:creator>
				<category><![CDATA[magnets]]></category>
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		<guid isPermaLink="false">http://sanguinfineart.com/giftshop/?p=581</guid>
		<description><![CDATA[]]></description>
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		<item>
		<title>Hokusai: Under the Wave off Kanagawa &#8211; magnet</title>
		<link>http://sanguinfineart.com/giftshop/magnets/hokusai-under-the-wave-off-kanagawa-magnet/</link>
		<comments>http://sanguinfineart.com/giftshop/magnets/hokusai-under-the-wave-off-kanagawa-magnet/#comments</comments>
		<pubDate>Sun, 07 Nov 2010 22:43:42 +0000</pubDate>
		<dc:creator>giftshop_admin</dc:creator>
				<category><![CDATA[magnets]]></category>
		<category><![CDATA[Japan]]></category>

		<guid isPermaLink="false">http://sanguinfineart.com/giftshop/?p=577</guid>
		<description><![CDATA[]]></description>
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		<title>Klimt: The Kiss &#8211; magnet</title>
		<link>http://sanguinfineart.com/giftshop/magnets/klimt-the-kiss-magnet/</link>
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		<pubDate>Sun, 07 Nov 2010 22:32:28 +0000</pubDate>
		<dc:creator>giftshop_admin</dc:creator>
				<category><![CDATA[magnets]]></category>
		<category><![CDATA[museum]]></category>

		<guid isPermaLink="false">http://sanguinfineart.com/giftshop/?p=573</guid>
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		<item>
		<title>Monet: Woman with a Parasol &#8211; magnet</title>
		<link>http://sanguinfineart.com/giftshop/magnets/monet-woman-with-a-parasol-magnet/</link>
		<comments>http://sanguinfineart.com/giftshop/magnets/monet-woman-with-a-parasol-magnet/#comments</comments>
		<pubDate>Sun, 07 Nov 2010 22:26:51 +0000</pubDate>
		<dc:creator>giftshop_admin</dc:creator>
				<category><![CDATA[magnets]]></category>
		<category><![CDATA[French]]></category>
		<category><![CDATA[Impressionism]]></category>
		<category><![CDATA[museum]]></category>

		<guid isPermaLink="false">http://sanguinfineart.com/giftshop/?p=569</guid>
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		<item>
		<title>Monet: Water Lilies &#8211; magnet</title>
		<link>http://sanguinfineart.com/giftshop/magnets/monet-water-lilies-magnet/</link>
		<comments>http://sanguinfineart.com/giftshop/magnets/monet-water-lilies-magnet/#comments</comments>
		<pubDate>Sun, 07 Nov 2010 22:18:24 +0000</pubDate>
		<dc:creator>giftshop_admin</dc:creator>
				<category><![CDATA[magnets]]></category>
		<category><![CDATA[French]]></category>
		<category><![CDATA[Impressionism]]></category>
		<category><![CDATA[museum]]></category>

		<guid isPermaLink="false">http://sanguinfineart.com/giftshop/?p=565</guid>
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		<title>Monet: The Artist’s Garden at Vetheuil &#8211; magnet</title>
		<link>http://sanguinfineart.com/giftshop/magnets/monet-the-artist%e2%80%99s-garden-at-vetheuil-magnet/</link>
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		<pubDate>Sun, 07 Nov 2010 22:12:23 +0000</pubDate>
		<dc:creator>giftshop_admin</dc:creator>
				<category><![CDATA[magnets]]></category>
		<category><![CDATA[French]]></category>
		<category><![CDATA[Impressionism]]></category>
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		<guid isPermaLink="false">http://sanguinfineart.com/giftshop/?p=561</guid>
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		<title>The Paintings of John Duncan, A Scottish Symbolist</title>
		<link>http://sanguinfineart.com/giftshop/books/the-paintings-of-john-duncan-a-scottish-symbolist/</link>
		<comments>http://sanguinfineart.com/giftshop/books/the-paintings-of-john-duncan-a-scottish-symbolist/#comments</comments>
		<pubDate>Sun, 07 Nov 2010 12:20:39 +0000</pubDate>
		<dc:creator>giftshop_admin</dc:creator>
				<category><![CDATA[books]]></category>

		<guid isPermaLink="false">http://sanguinfineart.com/giftshop/?p=558</guid>
		<description><![CDATA[By John Kemplay. 112 pages with 50 full-color illustrations and 2 duotone reproductions, and index. Size: 11 1/4 x 9 1/4 in. Hardcover smyth-sewn casebound book, with jacket. ISBN 978-0-7649-5159-6.

Scottish painter John Duncan (1866–1945) established his early style with paintings based on Arthurian legend; then he applied himself to Celtic myths and legends to create a series of paintings that are unique among early-twentieth-century Scottish art. While the Symbolist movement was probably his most important source of inspiration, his paintings were imbued with the spirit of the Italian Renaissance, and he spent much of his life experimenting with various compositions of tempera in order to obtain the precise density of color and smoothness of surface that characterize his work.

In this book, a revised edition of the first full-color monograph ever published on Duncan (Pomegranate, 1994), author John Kemplay outlines Duncan's technical, intellectual, and spiritual development as an artist and his close association with Patrick Geddes, the botanist and socialist who was devoted to a renaissance of Celtic art and who was instrumental in Duncan's commitment to the same. Duncan eventually created a unique body of work rich in Celtic legend and ornament and steeped in the tradition of the Byzantine style. He came to have a vital influence on the art of Scotland and left behind an unparalleled legacy of painting.

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Kemplay used as his principal resource for this book a series of Duncan's notebooks donated to the National Library of Scotland in Edinburgh by the artist's daughter, as well as letters written by Duncan, Geddes, and others, also in the collection of the Library. He also accessed materials from the Dundee Art Galleries and Museums, the University of St. Andrews, and the University of Strathclyde.

About the Author John KemplayJohn Kemplay was born and educated in London. He studied British art at the Tate Gallery and later moved to Edinburgh, where he now specializes in paintings and drawings by a number of Scottish artists who were active in the early part of the twentieth century. He has arranged several public exhibitions of works by Scottish artists (including John Duncan) at the City of Edinburgh Art Centre and the Talbot Rice Gallery of the University of Edinburgh. He is the author of a book about the Scottish artists Eric Robertson and Cecile Walton, The Two Companions (Crowhurst, 1991).]]></description>
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		<item>
		<title>The Art of Arthur and Lucia Matthews</title>
		<link>http://sanguinfineart.com/giftshop/books/the-art-of-arthur-and-lucia-matthews/</link>
		<comments>http://sanguinfineart.com/giftshop/books/the-art-of-arthur-and-lucia-matthews/#comments</comments>
		<pubDate>Sun, 07 Nov 2010 11:55:45 +0000</pubDate>
		<dc:creator>giftshop_admin</dc:creator>
				<category><![CDATA[books]]></category>
		<category><![CDATA[California]]></category>
		<category><![CDATA[museum]]></category>
		<category><![CDATA[women]]></category>

		<guid isPermaLink="false">http://sanguinfineart.com/giftshop/?p=552</guid>
		<description><![CDATA[San Francisco artists Arthur F. Mathews (1860-1945) and Lucia K. Mathews (1870-1955) produced murals, easel paintings, furniture, interior design, graphics, wooden frames, and other objects in what has come to be known as the California Decorative Style. Arthur's easel paintings and murals placed figures of myth and allegory in idyllic California settings that evoke a new Arcadia, where they danced, in fanciful Greek garb, through light-filled landscapes. Similarly prolific, Lucia painted portraits, landscapes, and botanicals in a soft color palette; her dreamy, windswept scenes of the Monterey Peninsula are accented with diffused light and a golden glow. Her expertise as a decorative artist established her as one of the leading artists of early-twentieth-century California.

Committed to their mission of treasuring the California they knew and loved, while urging their community forward in the quest for high artistic values, Arthur and Lucia Mathews were key players in California history and in encouraging a West Coast aesthetic. As the leaders of the California Decorative Style, they hold an important and honored place in the history of all American art.

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The Art of Arthur and Lucia Mathews is the most comprehensive Mathews retrospective ever published. A thorough overview of the decorative arts as they evolved in California, it also surveys the Mathewses' predecessors, their contemporaries, and the artists whose work they influenced. Harvey L. Jones, a senior curator at the Oakland Museum, ably reviews the Mathewses' exuberant lives, work, and influence on the California style; the foreword is by a state librarian emeritus and professor of history at USC; and an essay by an expert on American decorative arts and crafts helps to put the Mathewses in the context of their time and place.

Published with the Oakland Museum of California; written by Harvey L. Jones. 272 pages, with approximately 250 full-color and black-and-white images. Size: 10 3/4 x 12 in. Includes bibliography, index, foreword by Kevin Starr, and essay by Kenneth R. Trapp. Smyth-sewn paperbound book, with flaps. ISBN 0-7649-3644-1.
]]></description>
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		<item>
		<title>Steinlen: Summer Cat &#8211; magnet</title>
		<link>http://sanguinfineart.com/giftshop/magnets/steinlen-summer-cat-magnet/</link>
		<comments>http://sanguinfineart.com/giftshop/magnets/steinlen-summer-cat-magnet/#comments</comments>
		<pubDate>Sun, 07 Nov 2010 07:10:05 +0000</pubDate>
		<dc:creator>giftshop_admin</dc:creator>
				<category><![CDATA[magnets]]></category>
		<category><![CDATA[animal]]></category>
		<category><![CDATA[cat]]></category>

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		<title>Steinlen: Cat on a Cushion &#8211; magnet</title>
		<link>http://sanguinfineart.com/giftshop/magnets/steinlen-cat-on-a-cushion-magnet/</link>
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		<pubDate>Sun, 07 Nov 2010 07:02:18 +0000</pubDate>
		<dc:creator>giftshop_admin</dc:creator>
				<category><![CDATA[magnets]]></category>
		<category><![CDATA[animal]]></category>
		<category><![CDATA[cat]]></category>

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		<title>Gabriella Denton: Roosters &#8211; magnet</title>
		<link>http://sanguinfineart.com/giftshop/magnets/gabriella-denton-roosters-magnet/</link>
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		<pubDate>Sun, 07 Nov 2010 06:53:57 +0000</pubDate>
		<dc:creator>giftshop_admin</dc:creator>
				<category><![CDATA[magnets]]></category>

		<guid isPermaLink="false">http://sanguinfineart.com/giftshop/?p=540</guid>
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		<item>
		<title>Gabriella Denton: Horse &#8211; magnet</title>
		<link>http://sanguinfineart.com/giftshop/magnets/gabriella-denton-horse-magnet/</link>
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		<pubDate>Sun, 07 Nov 2010 06:47:01 +0000</pubDate>
		<dc:creator>giftshop_admin</dc:creator>
				<category><![CDATA[magnets]]></category>
		<category><![CDATA[horses]]></category>

		<guid isPermaLink="false">http://sanguinfineart.com/giftshop/?p=535</guid>
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		<title>Gabriella Denton: Two Cats &#8211; magnet</title>
		<link>http://sanguinfineart.com/giftshop/magnets/gabriella-denton-two-cats-magnet/</link>
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		<pubDate>Sun, 07 Nov 2010 06:40:41 +0000</pubDate>
		<dc:creator>giftshop_admin</dc:creator>
				<category><![CDATA[magnets]]></category>

		<guid isPermaLink="false">http://sanguinfineart.com/giftshop/?p=530</guid>
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		<item>
		<title>Renoir: Girl with Watering Can &#8211; magnet</title>
		<link>http://sanguinfineart.com/giftshop/magnets/renoir-girl-with-watering-can-magnet/</link>
		<comments>http://sanguinfineart.com/giftshop/magnets/renoir-girl-with-watering-can-magnet/#comments</comments>
		<pubDate>Sun, 07 Nov 2010 06:19:21 +0000</pubDate>
		<dc:creator>giftshop_admin</dc:creator>
				<category><![CDATA[magnets]]></category>

		<guid isPermaLink="false">http://sanguinfineart.com/giftshop/?p=525</guid>
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		<item>
		<title>Gustav Klimt: Expectation and Fulfillment &#8211; Notecard Folio</title>
		<link>http://sanguinfineart.com/giftshop/note-cards/gustav-klimt-expectation-and-fulfillment-notecard-folio/</link>
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		<pubDate>Sun, 07 Nov 2010 05:50:37 +0000</pubDate>
		<dc:creator>giftshop_admin</dc:creator>
				<category><![CDATA[folio sets]]></category>
		<category><![CDATA[note cards]]></category>
		<category><![CDATA[female]]></category>
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		<guid isPermaLink="false">http://sanguinfineart.com/giftshop/?p=518</guid>
		<description><![CDATA[At the turn of the twentieth century, the Austrian art world saw a mighty clash between the tradition-bound style of the Vienna Academy and the power, eroticism, and symbolism of works by the Vienna Secession, a group of artists cofounded by Gustav Klimt. Thus in 1899 a critic called one of Klimt's early portraits, executed in an academically acceptable mode, "the most beautiful picture ever painted by an Austrian," and a year or so later the critics excoriated Klimt (1862-1918) for his brash new style.

Klimt had rejected the mainstream and become a brilliant avant-garde outcast whose work flirted with pure abstraction. The paintings that scandalized Klimt's contemporaries are now seen as graceful, achingly sensual and striking in the depth of their emotional subjectivity: faces are rendered with tender clarity; bodies float, blur, evanesce into shimmering abstract forms.

The images reproduced in this folio of notecards are detail studies for a frieze in a lavish ultramodern mansion designed in 1904 by Josef Hoffmann, an architect affiliated with the Secession. Klimt took a number of other commissions to decorate interiors, but the Stoclet Palace is the only structure with a Klimt mural to have survived the firestorms of World War II.

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    <td><div align="center"><img src="http://sanguinfineart.com/giftshop/pomegranate/cards/folios/klimt_expectation_folio-0802/pomegranate_2127_29379343.jpg" /></div></td>
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Ten 5 x 7" blank note cards (5 each of 2 designs) and ten white envelopes.  Published by Pomegranate.]]></description>
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